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Research fellowships

Tyler Coburn

Garth Evans, photo from 'British Steel Photographs 1969-71'

Tyler Coburn

Artist and writer, New York

  • Garth Evans' involvement with the British Steel Corporation 1969-71

Evans’ fellowship, and the larger operations of the Artist Placement Group, are highly relevant to Coburn's artistic practice, which considers transformations in industrial and digital labour particularly with the rise of automation and their effects on the human worker.

Tyler Coburn is an artist and writer based in New York. His work critically engages trends in computing and manufacturing, investigating tensions between waged and leisure time; the self and the social media public; and the virtual world and its complex material infrastructures.

Joo Yeon Park

Artist, London

  • Forms by, and Words exchanged, between Vézelay and Arp

Alluding to Echo’s repetition of Narcissus’s last words in Ovid’s Metamorphoses, Joo Yeon Park’s artistic and philosophical questions, often manifested as writings and sculptural installations integrating mirrors, lights and shadows, consider the poetical and political aspects of the self and ‘otherness’ in languages.

During her fellowship at the Henry Moore Institute, Joo Yeon researched sculptors who wrote in a language of others in pre-war Paris. In particular, she focused on abstract sculptures and letters exchanged between the Bristol-born painter and sculptor Paule Vézelay (Marjorie Agnes Watson-Williams) and the Alsatian sculptor and poet Hans (Jean) Arp. The research on complex literary self-translatability in Vézelay’s and Arp’s writings in relation to their sculptural forms introduces further issues of the dialogic relationship of two voices, languages, genders, and nationalities.

Dr Amy Tobin

University of Cambridge

  • Sculpture and Autobiography in the work of Helen Chadwick and Rose Garrard

Amy Tobin's research at the Henry Moore Institute is focused on the archive collection of Helen Chadwick, but is part of a longer project on sculpture by women artists in the 1980s. Rather than insist on connections, she is considering the very different directions these artists take – from Chadwick’s exploration of subjectivity, to Rose Garrard’s interest in personal history and mythology, and Alison Wilding’s abstraction.

Her project situates the 1980s work of each artist in the social context in which they were practicing, thinking particularly about the impact of feminism, and women’s liberation politics, as well as post-colonialism, punk and neo-conservatism on the conditions of their practice, and their approaches or conceptual context. Amy is interested in how the social and political context of the 1980s is manifested in sculptural practices; particularly how artists create, take-up, imagine and delineate space or particular spaces and indeed the importance of memory and history, which animates the work of Chadwick, Garrard and Veronica Ryan especially.

Dr Amy Tobin is Lecturer in the Department of the History of Art, University of Cambridge and from January 2018 will also be a curator at Kettle’s Yard. She completed her PhD in the History of Art at the University of York in 2017 with a thesis looking at art and women’s liberation in Britain and North America in the 1970s.

Anna Dezeuze

Ecole Supérieure d'Art et de Design Marseille-Méditerranée

  • On sculpture's deadpan inertia

Anna Dezeuze's research project focused on the subversive potential of sculpture’s inertness. Consulting a wide range of books, catalogues, articles and conference recordings in the library, Anna sketched a preliminary map of some key relations between sculpture, performance, dance, photography and film in contemporary practices since the 1960s. From this there emerged a variety of useful references including the tableau vivant, the myth of Pygmalion & Galatea, object-oriented philosophy and reflections on endurance in performance art.

Anna's research into 1960s practices took in work by Keith Arnatt, Bruce McLean, Gilbert & George in the United Kingdom; Vito Acconci, Eleonor Antin, Scott Burton, Barry Le Va, Dennis Oppenheim and Charles Ray in the United States; as well as Franz Erhard Walther in Germany. She also expanded her research into more contemporary practices by Mel Brimfield, Mark Leckey, Franz West and Erwin Wurm. She engaged at first hand with works by Arnatt and Brimfield in the Leeds Sculpture Collection, and spent time comparing Bruce McLean’s Half Hour Stand and Walkabout Piece, Barnes, also held in this collection, with the artist’s ‘Documentation boards’ kept in the Henry Moore Institute Archives.

Anna Dezeuze is Lecturer in Art History at the Ecole Supérieure d'Art et de Design Marseille-Méditerranée. She is the editor of The ‘Do-it-yourself’ Artwork: Participation from Fluxus to New Media (Manchester University Press, 2010) and co-editor, with Julia Kelly, of Found Sculpture and Photography from Surrealism to Contemporary Art (Ashgate, 2013). Her other publications include a study of Thomas Hirschhorn's Deleuze Monument (Afterall, 2014) and Almost Nothing: Observations on Precarious Practices in Contemporary Art (MUP, 2017).

Melissa Appleton

Artist / Lecturer, Ruskin School of Art, University of Oxford

  • Jeff Nuttall: Quite Suddenly Your Smile is an Architecture

Melissa Appleton works with constructed environments, moving image, performance and sound, investigating how the interaction and alignment of these elements can produce an extended form of sculpture. Appleton will expand her research into the work of late artist Jeff Nuttall, mining Nuttall's texts - such as his mimeographed series My Own Mag: a Super-Absorbent Periodical, described in Bomb Culture as a 'paper exhibition in words, pages, spaces, holes, edges, and images' - for sculptural qualities. The research will inform a sculptural environment and publication for a forthcoming exhibition and Appleton will also host a series of reading groups at the Institute, bringing together contemporaries of Nuttall with researchers and artists currently engaged with his work.

Holly Corfield Carr

Installation view of Katrina Palmer: The Necropolitan Line

Holly Corfield Carr

University of Cambridge

  • Depth of Field: Towards a Sculptural Poetics

Holly Corfield Carr will be conducting research into the writing practices of sculptors working with text in Britain after 1960. Her work will pay particular attention to both the sculptural and poetic outputs of Brian Catling, whose papers are held in the HMI archives, and to the site-specific narratives in the work of Katrina Palmer, whose show The Necropolitan Line opened at the HMI in December 2015. Proposing a shared idiom between sculptors' writings and a contemporary turn towards situated poetries, this interdisciplinary project seeks to develop a series of models of attention appropriate for reading a sculptor's novel or a poet's sundial.

Ruth Ezra

Harvard University

  • Eliding Sculpture and Plane in German Renaissance Art

Ruth Ezra will use the Henry Moore Institute's resources to deepen her ongoing study of late-Gothic German sculpture. Her dissertation focusses on how the pre-Reformation relief, caught between two and three dimensions, acted as an expressive medium for the confrontation of old (sculptural) and new (pictorial) approaches to representation. At the Institute, she will research examples of 'additive' relief on Schnitzaltar wings, attending specifically to interactions between projected and illusory architecture. Access to the Leeds Art Gallery will allow her to explore transhistorical connections between the affixed Kleinarchitektur of late-Gothic altarpiece wings and the assemblages of 20th-century British artists such as Nash, Earnshaw, and Thubron.

Dr Tim Stott

Lecturer in Art History and Theory, Dublin School of Creative Arts, Dublin Institute of Technology

  • Play: Imagined and Practiced in British Art Education in the 1960s and 70's

Tim Stott's research project at the Henry Moore Institute will study how the role assigned to play and games in two Environmental Art courses designed and coordinated by Simon Nicholson, first the Design 12 course at University of California (Davis) from 1966 to 1971, then the TAD292 Art and Environment course at Open University from 1976 to 1985, correlated with the pedagogical practices of the Basic Design movement, as exemplified by the Basic Course at Leeds College of Art established in 1956. This inquiry forms part of a larger book project which studies how a constructive, systematic and participatory mode of play came to align with an expanded field of sculptural production in British art of the sixties and seventies. Of particular interest to him is how ludic forms of sculptural practice came to be imagined as an ideal means to engage with an increasingly cybernetic and systems-oriented culture .

Jay Curley

Wake Forest University, North Carolina

  • Hybrid Objects: Post-war British Sculpture between America and Europe

Jay Curley's book proposes a new model for understanding post-war British sculpture, arguing for a model that accounts for its simultaneous independence from and interdependence on European and American models. Whether Anthony Caro and British Pop sculptors working between Britain and America or Barry Flanagan and Tony Cragg between Britain and Europe, Curley's project will conceptualise the interstitial position of post-war British artists. Such a condition allows them to play in the field of post-war modernism, liberating and adapting its forms for specifically British needs.

Paul Brobbel

Installation view of Savage Messiah: The Creation of Henri Gaudier-Brzeska

Paul Brobbel

Govett-Brewster Art Gallery / Len Lye Centre, New Plymouth, New Zealand

  • Len Lye and Modern Sculpture

Paul Brobbel will research Modern European sculpture in relation to the work of the New Zealand-born American filmmaker and sculptor Len Lye (1901-80). Particular focus will be given to the artist's reception of Henri Gaudier-Brzeska and Constantin Brâncuși during his formative years living in New Zealand and Australia and his subsequent membership of the Seven & Five Society between 1928 and 1934.

Diana Campbell Betancourt

Samdani Art Foundation / Dhaka Art Summit, Bangladesh

  • A history of sculpture parks

Diana Betancourt will study the history of sculpture parks and look into the proposal process for commissions within these sites. Betancourt is interested in failed proposals, especially those of female artists who historically may have been overlooked or dismissed based on their gender. In contemporary sculpture parks, there is a movement of recreating works posthumously, even works that were never realised within the lifetime of the artist. What are the ethics of bringing a sculpture to life after an artist's death? This research will inform the development of Fatehpur, Bangladesh's first public sculpture park.

Rosemary Shirley

Manchester Metropolitan University

  • Quick Perspectives on the Future: Rural Modernity and British Sculpture 1930s-1960s

Rosemary Shirley will investigate the relationship between British Sculpture of the 1930s-1960s and aspects of rural modernity during this period. Specifically she is interested in the visual correspondences between dramatic interventions in the rural landscape at this time, such as the installation of electricity pylons, radio and television transmitters and the accompanying 'wirescape', and sculptural practices such as the use of networks of string to describe space and volume and steel lattice constructed forms. This interdisciplinary project will offer alternative ways of thinking the relationship between sculpture and landscape, while at the same time generating different perspectives on aspects of rural modernity.

Dr Jo Melvin

Chelsea College of Arts

  • Christine Kozlov: Information

Dr Jo Melvin will be working with the Institute on our winter 2015 exhibition Christine Kozlov: Information. Christine Kozlov (1945–2005) questioned how objects are used to communicate information. This first posthumous presentation considers information as sculptural material through artworks and archival material. Using films, tapes, photographs and texts Kozlov examined the limits of documentation. Supported by the Terra Foundation for American Art Dr Melvin will be conducting, with Pavel S. Pyś our Exhibitions and Displays Curator, a series of interviews with artists who came in contact with Kozlov.

This research will lead to a text published in issue 74 of our journal Essays on Sculpture that is dedicated to Kozlov, and a lecture during the exhibition.

Monica Amor

Maryland Institute College of Art

Cecilia Canziani

University of Naples, Federico II

John Dummett

University of Dundee

Sophia Hao

University of Dundee

Tom Overton

British Library / Kings College, London

Magdalena Wroblewska

Kunsthistorisches Institut in Florenz - Max-Planck-Institut

Dr Dawn Pereira

Artist, writer and teacher

  • Sold, Stolen, Lost, Listed, Renewed or Rediscovered; the journeys of the London County Council 'Patronage of the Arts Scheme' artworks (1957-1965)

In the wake of the controversy late in 2012, regarding Tower Hamlets Council plan to sell the Henry Moore sculpture 'Draped Seated Woman' originally acquired in 1962, there is an increased interest in learning more about the London County Council's (LCC) commitment to placing art in the regenerated heart of post-war London and why artists were so keen to take part in this process too. Dawn Pereira wishes to use her Henry Moore fellowship to further her research into the artists commissioned by the LCC's Patronage of the Arts Scheme' that have papers, drawings and photographs within the Institute's archives; this includes Austin Wright, A H Gerrard, Franta Belsky and the newly acquired collections of Trevor Tennant and Dorothy Annan. Also of relevance are a number of artworks held within the Leeds Art Gallery Collection by LCC artists.  Dawn is keen to explore how the 'survivors' have continued their journeys as pieces of public art and how their particular guardians have handled this responsibility.

The story of artists being commissioned or employed to create sculptures and murals for LCC housing estates, schools, highways and homes for the elderly formed the focus of Dawn's PhD thesis entitled 'Art for the Common Man: the Role of the Artist within the London County Council (1957-1965)' which was completed in 2009.

Dr Edward Vazquez

Middlebury College, Vermont

  • Aspects: Fred Sandback's Sculpture

Edward Vazquez will be completing a study of the work of the American artist Fred Sandback (1943­-2003), whose sculptural constructions made from lengths of yarn rest between the concrete objecthood of minimal art and the material slightness of conceptualism. His book project is the first complete study of Sandback's work, and approaches Sandback's practice as a radical mixture of observation and measured physical intervention that not only unsettles traditional understandings of sculptural presence but also stages an ethics of interaction between viewer and object. Arguing that Sandback's practice reorients our understanding of sculptural materiality, Vazquez posits Sandback's work as a ghostlike, spectral presence that operates historically and critically to recast the terms of sculptural experience and material presence in creating physical situations that model a way of being in the world.  While in residence at the HMI, Vazquez will focus in particular on Sandback's little seen relief sculptures, which the artist began making in the middle 1990s.

Edward Vazquez is an assistant professor of modern and contemporary art at Middlebury College in Vermont, USA, where he has taught since the fall of 2009. He received a PhD in Art and Art History from Stanford University, also in 2009. His writing on Fred Sandback has been published in Art Journal and is forthcoming in RES: Anthropology and Aesthetics.

Dr Jane Thomas

University of Hull

  • Thomas Hardy and the New Sculpture

Thomas Hardy timed his arrival in London on 17th April 1872 to coincide with the opening of the London International Exhibition which included Thomas Woolner's half-size, plaster statuette 'Love'. Hardy met, corresponded with and was a frequent visitor to the studios of Woolner, Frederic Leighton and Hamo Thornycroft, and it was his great friend Edmund Gosse who coined the term the 'New Sculpture' to describe their work in the Art Journal in 1894. His last novel, The Well-Beloved (1892/96), describes the romantic, sexual and artistic frustration of a sculptor searching for the ideal of feminine beauty in his life and in his art. Hardy claimed that the plot was suggested by Woolner's remark that he had 'often pursued a beautiful ear, nose, chin, &c, about London in omnibuses and on foot'.   This struggle to imbue sculptures with 'the informing spirit' echoes the move towards a new dynamism and vibrancy in the work of the New Sculptors from the late 1870s onward. Using the Ford and Gunnis archives, the papers of Thornycroft,  Woolner and Bayes, this interdisciplinary project will explore new biographical and aesthetic links between Hardy and the practitioners of the 'New Sculpture' in an attempt to identify elements common to their artistic practice.

Dr Jane Thomas is Senior Lecturer in English at the University of Hull. She specialises in the work of Thomas Hardy and late Victorian literature and art. Her publications include two monographs on Hardy; new annotated editions of Hardy's The Well-Beloved and two volumes of his shorter fiction.

Will Holder

Independent, London

  • The Premises of Constructivist Objects

Typographer Will Holder will be conducting research into the premises of constructivist objects, following the writings of Boris Arvatov and a legacy through the work of later 20th-century artists such as Lygia Clark and Helio Oiticica. Holder will be looking for uses and readings of objects that might inform a contemporary understanding of humans as language-producing commodities. This research will naturally acknowledge concrete poetry but also be an attempt to find an 'everyday' (Arvatov) space beyond concrete poetry's theoretical premises - with forms of linguistic exchange that are more made, more thing-like, on and off the page.

Will Holder once read that oral tradition would lead us out of the post-modern condition, and has since become preoccupied with "publishing". The publications do not always take the form of ink and paper, and a large part of the preoccupation is spent in finding suitable 'forms' for transmission.

In May 2009, Holder curated "Talk Show" at the ICA, an exhibition and season of events concerning speech and accountability. He is editor of F.R.DAVID, a journal concerned with reading and writing in the arts, published by de Appel, Amsterdam. Together with Alex Waterman, Holder is currently editing and designing a biography of American composer Robert Ashley, for two or more voices (New Documents, Vancouver, 2013).

Harry Willis Fleming

Richard Cockle Lucas (albumen carte-de-visite, c. 1858)

Harry Willis Fleming


  • Two Albums: The Genius of Richard Cockle Lucas

Harry Willis Fleming will use two albums of drawings, etchings, and ephemera relating to the sculptor Richard Cockle Lucas (1800-1883) as a lens to examine that artist's palimpsestic approach to archive- making, memory-making, and the bottling of tutelary genius. In parallel, Fleming will consider Lucas's present-day reception and place within current debates in the history of sculpture. The Fellowship will lay the foundation for a major research project.

Giles Round


  • Sculpture, Object, Decorative Craft

Drawing on Henderson & Paolozzi's homewares company Hammer Prints Ltd, 1955-61 as a starting point, Giles Round will be conducting extensive research into the relationship between artist, object, decorative craft and interior. This will see an investigation that expands the 20th and early 21st Century to look at both individual artists and artist's collective companies who have contributed to decorative and utilitarian household wares. From textiles to furniture and from pottery to glass, this research will look at artists who have contributed both utilitarian and decorative items for the home.
Supported by the Chelsea Arts Club Trust.

Dr Isabel Hufschmidt

Independent scholar

  • The Edition of Sculpture in England: A French Spirit of commerce, English manufactories and the New Sculpture

Isabel Hufshmidt will be researching bilateral influences - aesthetic, technical and economic - in relation to serially reproduced sculpture in nineteenth-century France and Britain. Her project will specifically focus on the role of the New Sculpture, sculpture’s relationship to the decorative arts and its commercial potential and economic roots, as well as a new democratic access to and enjoyment of art in this period.

Works by French sculptors which had been regularly reproduced and commercially distributed by popular foundries in Paris since the 1830s, came to attract the interest of English manufactories, engaged in the reproduction and sale of small-scale statuary, especially in Parian Ware. Whilst simultaneously developing a new artistic language, British sculpture also recognised French superiority in foundry techniques and commercial ambitions.

British artists had long since bemoaned the lack of a platform for the serial production and distribution of sculptural works. It is not the case that there were no foundries and dealers in Britain, but the tradition of cire-perdue casting, brought to a masterful degree in France over centuries, had been rather neglected. In the second half of the nineteenth century, several foundries were established although they preferred to rely on French craftsmen - the realisation and implementation of the British-born commercialisation of sculpture thus took its proper form.

Dr Melissa Laing

St Paul St Gallery, AUT University

  • A history and critical analysis of the BAA Art Programme within the dual contexts of civil aviation and public art practices

Melissa Laing will examine the Public Art Development Trust (PADT) archive held at the Henry Moore Institute to construct a history and critical analysis of the BAA Art Programme within the dual contexts of civil aviation and public art practices. The BAA Art Programme ran from 1994 to 1999 and by 1997 had an annual budget of £400,000 a year. It worked with three art consultancies including PADT, and saw over 40 artworks commissioned for BAA's airports and collection. The research forms part of a larger book project on the history of public art programmes and museum exhibits at airports.

Robert Slifkin

New York University

  • Incidental Cenotaphs: The renewal of Monumentalism in Postwar Sculpture (and Beyond)

As part of a larger book project Robert Slifkin will examine Henry Moore's sculpture Nuclear Energy and situate it alongside contemporaneous work addressing the same subject. Drawing upon the theoretical writings of Paul Virilio, it is Slifkin's hypothesis that the logic of nuclear weapons may provide a powerful means to historicize the widespread interest in an embodied or phenomenological understanding of postwar sculpture, as well as post-humanist approaches to cultural production.

Gülru Çakmak

Western Michigan University

  • Jean-Léon Gérôme: The Innovative Years (1851-1859)

Gülru Çakmak will expand upon her dissertation, which focuses on the work of the nineteenth-century French painter and sculptor Jean-Léon Gérôme (1824-1904), by giving an account of the artist's transition from painting to mixed-media and polychromatic sculpture in the late 1870s. Çakmak takes the artist's work as a case study to explore the controversial emergence of polychromatic and mixed-media sculpture in French art in the second half of the nineteenth century.

Daniel Zec

University of Zagreb

  • Life and Work of Oscar Nemon (1906-1985)

Daniel Zec will investigate to what extent Oskar Nemon 'belongs' to Croatian art history, and how much to English culture - within which Nemon spent the greater part of his life and completed the majority of his artistic work. Zec will continue ongoing research, with particular focus on his lost work and portrait sculptures. Planned outcomes are a book, exhibition and exhibition catalogue.

Paul Becker


  • The Life of Anton Lesseman

Paul Becker's fellowship research will lead to a written fabrication of the life of an imaginary artist, a contemporary of Henry Moore, as a method of examining accepted histories in an original way, refiguring those histories and perhaps offering a correlative, an antithetical or parallax view on a familiar subject: in this case the life and work of Henry Moore himself.

Francesco Pedraglio


  • Writing as a medium for the production of and reflection on the idea of abstract objects

Francesco Pedraglio employs written words as non-representational tools to trigger a visual result aiming to 'corner' the nature of a carefully chosen series of objects - redefining language and the written word as active tools to freely imagine and produce abstract sculptures.  Pedraglio will develop a series of written works that, starting from an abstract reading of selected objects, will apply different strategies to research the abstract potentiality of these same objects, subsequently translating these writings in live lectures and public events.

Pil and Galia Kollectiv

Pil and Galia Kollectiv, 'WE' (2010, performance at Kunsthall Oslo, 60 min)

Pil and Galia Kollectiv

Goldsmiths College / University of Reading

  • The role of faith in sustaining the fiction of capital

Pil and Galia Kollectiv will explore the notion of capitalism as a faith system founded on the abstract concept of money, considering the relationship between decorative sculpture and post-religious iconography. In this context, they are especially interested in Oscar Nemon's proposal to construct a Temple of Universal Ethics. They will be working towards realising a project as a series of ritual objects pertaining to a cult of finance.

Roberto C. Ferrari

New York University

  • John Gibson and Nineteenth-Century British Sculpture

Ferrari will be conducting research for his doctoral dissertation on John Gibson (1790-1886). His thesis will explore Gibson's role in the history of British sculpture beyond that of sculptural polychromy, by examining for the first time themes such as queer subjectivity in his work and his studio practice and pupils.

Daniel Herrmann

Scottish National Gallery of Modern Art

  • Aluminium and its Material Semantics: The example of Alfred Gilbert's Shaftesbury Monument

This project contributes towards a discourse history of materials in sculpture. Its respective case study is the Shaftesbury Monument (1892-93) by Alfred Gilbert (1854-1934) and its crowning aluminium cast of the personification of charitable love. The project will trace and contextualise the formation of the different aesthetic discourses surrounding the extraordinary choice of material.

Simon Starling

Simon Starling in the Henry Moore/Hat Maker mask made by Yasuo Miichi, Osaka for 'Project for a Masquerade' (Hiroshima), 2010

Simon Starling

Artist, Copenhagen

  • Project for a Public Sculpture: Hiroshima

The invitation to make an exhibition at the Hiroshima Museum of Contemporary Art in 2011 is the impetus for this investigation into the problem of site specific practice, and specifically Henry Moore's involvement in the realisation of a monument for Enrico Fermi's first nuclear reactor at Chicago University. This research aims to establish the full complexity of Moore's relationship to Cold War politics, the beginnings of the anti-nuclear movement in Britain, and the events that lead to Moore's 'Atom Piece' being removed from public display in Hiroshima.

Gregor Stemmrich

Free University of Berlin

  • Robert Morris' HEARING (1972) put in perspective - concepts, contents, contexts, consequences

Robert Morris' sculptural installation HEARING includes an audio recording of a fictitious hearing that is focussed on the aesthetic, political, historical and moral views of a 'witness'. The work is taken as a point of departure. Investigations relating to the various issues involved will take works of other artists into consideration.

Additional Research Projects:

Rob Crow (University of Gloucestershire) is continuing research into the writing of histories of early twentieth-century British photography and Walter Benington in particular.

Marin Sullivan (University of Michigan) proposes to continue her research which focuses on a succession of sculptural projects made by American, Italian, and German artists in Italy between 1962 and 1972. This centres on the premise that photography, often overlooked or dismissed as a mere documentary supplement, was a crucial component of the radical reformulation of sculpture taking place at this time.

Nancy Ireson (Courtauld Institute of Art) plans to develop a research project which aims to bring attention to Frampton through a small exhibition or display at the Henry Moore Institute, based around photographs held in its archive.

Dr. Linda Khatir (Bath School of Art & Design) will develop her research into British Constructivism/Systems Art by examining material held in the archives and collections of the Henry Moore Institute and Leeds Art Gallery.  In particular, documents, images and artworks relating to prominent Constructivists who taught at Bath Academy of Art at Corsham Court in rural Wiltshire (now Bath School of Art & Design, Bath Spa University).  These artists include: John Ernest, Malcolm Hughes and Michael Kidner, as well as Anthony Hill, Gillian Wise and others.

Amy Mackie (New Museum, New York) will pursue previous research on the life and work of Helen Chadwick with the hope of developing her plans to bring Chadwick's work to an American museum.

Alexandra Keiser (Archipenko Foundation) will be continuing her research of Archipenko's part in the transatlantic cultural fabric that shaped modernism in the USA and of the mechanisms that defined success and failure in modern sculptural practice. This project is part of a broader research for her doctoral dissertation Alexander Archipenko in a network of cultural exchange: From European avant-gardes to and avant-gardism in the USA.

Michael Dean

Michael Dean, 'The Array of Rain' (fellowship project)

Michael Dean

Artist, London

  • Typographical Memorials to Moments of Intensity and Attraction

To identify personal and national mechanisms of remembrance and concurrent to this vocabulary of memorial and monument in British Sculpture, to develop a new body of work which sculpturally delivers writings I have composed in order to memorialise moments of intensity and attraction.

Simon Ford

Independent Academic / Art Historian

  • 'Sculpture in a Purely Abstract Form': William Staite Murray and Modern British Sculpture

The objective of my research is to examine the work of the studio potter William Staite Murray, and document, contextualize and interpret his many connections with the sculptors of his day. The aim is to demonstrate that pottery played a key role in inter-war debates about modern and abstract British sculpture.

Jeffrey Jones

Cardiff School of Art and Design

  • The Relationship of Sculpture to Pottery in British Art from the Early Twentieth Century to the Present Day

At certain periods the interests of sculptors and potters in Britain have either overlapped or come into particularly sharp focus. My research will use case studies to track and interpret these relationships in order to provide an historical context in which the work of contemporary practitioners can be better understood and appreciated.

Additional Research Projects:

Dr Alexandrina Buchanan (University of Liverpool) will develop her research into the relationships between art, archives and exhibitions. She will investigate how archival objects are chosen and used within the forthcoming HMI exhibition, The Developing Process: The sculptor’s education in drawings and photography, the nature of the archival trace created by the exhibition and how the archive is or could be used to inform future practice.

Dr. Cameron Cartiere (Birkbeck, University of London) will be continuing her research project Sculpture Al Fresco: the Museum Moved Out-of-doors, examining the museological significance of private and public sculpture parks, 'open air galleries', interventions, and art commissions arising from the landscape environment. Dr Cartiere has conducted site visits to almost 100 parks around the globe and will be launching an online international directory of sculpture parks later this year.

Chiara Teolato

  • Sculpture and the Taste for the Antique in Yorkshire Country Houses (1750-1850)

This research project focused on the dissemination of small decorative bronzes from the antique in Yorkshire country houses. Serially produced by sculptors working in Rome, they were acquired on the spot as souvenirs by contemporary Grand Tour travellers. Through their prominent placement in the manor houses of Britain they had a lasting and heavily classicising impact on the development of the country's furniture and interior decoration. Chiara is currently studying roman bronzes in London and Country Houses in the South of England.

Jyrki Siukonen

  • Sculptors and Philosophy of Tools

"I am an artist and researcher who studies how 20th-century sculptors went about their manual studio work and use of tools, I will study the Institute’s collections and look for supporting evidence for Heidegger’s notion that use of tools constitutes a particular way of seeing."

Wouter Davidts

  • Larger than the Body: Claes Oldenburg and the Problem of Scale

Claes Oldenburg is one of the post-war artists who has most consistently used size inflation as a vital sculptural strategy. During his fellowship, Davidts purported a retroactive analysis of the work of this emblematic artist. This project fits within a broader research to critically rearticulate and recalibrate the prevailing notions of size and scale in contemporary sculpture and architecture. Results of the research will serve as the basis for a future exhibition on the work of Oldenburg, provisionally entitled Object-Body-Building.

Krysten Cunningham

Krysten Cunningham, '3 to 4' (2010, single channel HD video, 8 minutes)

Krysten Cunningham

Artist, Los Angeles

  • Tales of the 4th Dimension

Work in progress '3 to 4' is a short film in which five dancers and a sculpture journey through the desert as they pass from the third dimension into the fourth. Shot on location in the California desert, where there is precedence for outlandish scientific hypothesis, the purpose of ’3 to 4’ is to integrate human movement, color, object and landscape into the definition of 4 dimensional space.

Andrew Bick

Anthony Hill, Maquette for a relief mural for the Sixth Congress of the International Union of Architects, South Bank, London (1961)

Andrew Bick

Independent curator and artist

  • Eccentric Construction

A re-examination of Constructed Abstract Art in the UK in the light of contemporary practice, using the work of Anthony Hill and Achill Redo as a starting point.

Falke Pisano


  • 29 Decisions for a Time Piece Capsule Radio Piece

Pisano developed her project '29 Decisions for a Time Piece Capsule Radio Piece' to create new work looking at the confrontation between text and concrete form.

Courtney Martin

Yale University

  • Cyclones in the Metropole British Artists 1976-1989

Martin used her time at the Institute to work on her PhD dissertation Cyclones in the Metropole British Artists 1976-1989. Her work examines the innovation production of immigrant, first generation and non-English artists in Britain during the 1970s and 1980s.

Additional Research Projects:

Sandra Kisters (Vrije University, Amsterdam)

Sarah Hoglund (State University New York)

Mari Dumett (Boston University)

Franka Hornschmeyer

Artist, Berlin

  • The Physiological and Psychological Experiences of Space

By treating space like a material, Hornschmeyer creates installations that redefine the physical architecture and the subjective experience of a room’s structure and dimensions. During her fellowship she investigated the spaces of the Institute and the wider environment of Leeds. She will return to the Institute on the 12th of October for Leeds Light Night 2007 to present her take on the city.

Mark Wilsher

Mark Wilsher, drawing from the exhibition Drawing on Sculpture: Graphic Interventions on the Photographic Surface

Mark Wilsher

Artist, Norwich

  • Abstract Public Sculpture

As well as being a practicing artist Wilsher works as  a writer, teacher, and curator. He has recently been making works that re-engage with abstract public sculptures dating from the late 1940s to the 1980s. Such works – often large composites made of metal, and many by artists that have been forgotten today – continue to have a life in the form of photographs in old journals and catalogues. Wilsher used his fellowship to study these works, and the resulting body of work will be on show at the Institute in 2008. In 2007 his work was included in the Institute show Drawing on Sculpture: Graphic Interventions on the Photographic Surface.

Cassandra Albinson

Assistant Curator, Yale Centre for British Art

  • Dalou's seated female figures

Albinson carried out research for an exhibition around a terracotta statuette depicting Mrs. George Howard, by the French 19th century sculptor Aimé-Jules Dalou, which is in the collection of Castle Howard. Dalou’s seated female figures have been mostly seen as anonymous genre statuettes, but the known identify of the Castle Howard piece suggests that such works can be read much more specifically as portraits. She will curate an exhibition of these figures for the Institute in 2008.

Claudia Mesch

Assistant Professor, Arizona State University

  • Büro Berlin

Mesch examined key projects undertaken in the 1970s by the Büro Berlin, a collective that involved Hermann Pitz, Fritz Rahmann, Raimund Kummer and other artists, in creating collaborative installations that tested the possibilities and limits for conceptual art practice in public spaces. The research will form part of a book-length study on Art and Demarcation: Around the Berlin Wall 1961-1989.

Frederico Camara

Frederico Camara, study for 'Leeds (Partial View)'

Frederico Camara

Photographer, London

  • Leeds (Partial View)

Camara is a Brazilian photographer now based in London. His research at the Institute looked at overlaps between sculpture and photography - locating sculptors who have used photography as part of their artistic practice and photographers whose work has sculptural characteristics. This theoretical research informed his own images of the Institute’s collections and physical spaces, which were shown at the Institute in 2006.

Jane Simpson and Sarah Staton

Artists, London and Sheffield

  • kissingcousins

Staton and Simpson have been working collaboratively to identify a sculptural family, a search which created Daddy Pop (The Search for Art Parents) an exhibition at the Anne Faggionato Gallery, London, in 2004. Their fellowship allowed them to build on this mutual fascination with the sculptural and fill in the gaps in the original Daddy Pop project through archival research and by initiating discussion with other artists and curators.

Dalibor Prančević

Curator, Ivan Mestrovic Foundation, Croatia

  • Meštrović in Leeds

Prančević is both working as a curator and completing a PhD on Expressionism and Art Deco in the works of Ivan Meštrović at the University of Zagreb. Meštrović spent time in Leeds and exhibited at Leeds City Art Gallery in 1915. He expanded his PhD project and explored Mestrovic’s connection to Britain, by working with the Institute’s collections and more widely in Leeds.

Christopher Marshall

Senior Lecturer in Art History and Museum Studies, University of Melbourne

  • Sculpture in the Museum

Marshall looked at the times and spaces of sculpture in the museum. He investigated the changing functions and associations of sculpture in the museum from the mid-20th-century onwards, focussing on high-profile commissions and acquisitions which promote an institution’s ideals and aspirations. He developed a major international conference with the Institute examining these issues in 2007, working with Dr Jon Wood to produce a publication.

Ewa Manikowska

National Museum of Warsaw

  • 19th-century Polish Collections of Antique and Neoclassical Sculptures

Ewa Manikowska’s fellowship was part of her preparation for the exhibition Apollo in Warsaw which draws on the little-known national collections of classical sculpture, to show how neoclassicism was reflected in Polish taste. Ewa was attracted to Leeds not simply because of the library, but also because of the Institute’s experience in displaying sculpture in new ways.

Charlotte von Poehl

Installation view of Charlotte von Poehl: The Notepiece

Charlotte von Poehl

Artist, Paris

  • Eva Hesse and Sol LeWitt

Charlotte von Poehl draws parallels between her own ways of working with repetition and seriality and the work of Sol LeWitt and Eva Hesse. During her Fellowship at the Institute she explored the paradoxes, gaps and disruptions in their work and their writing to inspire her in her own work.

Joanne Lee

Nottingham Trent University

  • Critical Enchantment - the way we think, speak and write about art

Examining archive and audio-visual material, Joanne was seeking to discern methodologies of curiosity, wonder and enchantment in the critical languages of artists, as part of her research for a publication on critical concepts.

Hanno Soans

Art Museum of Estonia, Tallin

  • The Nature and Perception of Sculpture from the early 1960s to today

The new building of the Art Museum of Estonia will open with an exhibition which will map changes in the notion of sculpture since the 1960s. Hanno worked in our library to compile an anthology of critical writing from this period to accompany the show, and to prepare an international conference considering definitions of sculpture in relation to the exhibition.

Joanne Lukitsh

Massachusetts College of Art

  • The Studio Photographs of Thomas Woolner

Using the archive of pre-Raphaelite sculptor Thomas Woolner, Joanne Lukitsh examined the role of photography in the representation of sculpture. Her research - in the form of an essay and a small exhibition - reveals Woolner’s creative intervention in debates about the printed image.

Irena Kossowska

Polish Academy of Science

  • Eric Gill: Sculpture and Graphic Work

Irena Kossowska’s research on Eric Gill followed on from a broader study of the diverse modes of realism developed in the 1920s and 30s, as part of a book on Polish realism. Using material in the archive and library, she particularly focussed on Gill’s traditionalism and stylisation, both based in medieval art and reflective of modern concerns.

Susanne Deicher

Wismar Fachhochschule für Technik, Wirtschaft & Gestaltung

  • Re-examining Ernst Barlach's Influences

Susanne Deicher sought to deepen her understanding of Barlach by placing him in a broader context and by catching up on recent sculpture studies, both by reading new publications and by meeting relevant scholars.

Jaki Irvine and Ron Brown

Installation View of Jaki Irvine: Plans for Forgotten Works

Jaki Irvine and Ron Brown

Artist, Dublin; Leeds Metropolitan University

  • The Meaning and Significance of Archives

Jaki Irvine met Ron Brown on an earlier stay in Leeds, and they made a joint application to use the Institute’s archives. This fellowship aimed to develop recent artistic re-interpretations of archives by looking at connections between different materials in the Institute, and Brown was interested to see how an artist such as Jaki used an archive. Jaki’s research formed a group of new work - largely films, but also photographs - some of which were exhibited in Gallery 4 in 2005.

Simon Beeson

William Turnbull, 'Playground (Game)' (1949)

Simon Beeson

Edinburgh College of Art

  • Play/Ground

Simon Beeson looked at the relationships between sculpture, play and architectural pedagogy and their common engagement with the ground. During his fellowship he hosted a ‘play’ session in Gallery 4, where he later installed an exhibition centred around William Turnbull’s ‘Playground (Game)’.

Antony Hudek

  • National and International Contexts for 1980s British Sculpture

As part of his PhD thesis on confrontations between theories of postmodernism and painting in the 1980s, Antony Hudek used the Institute's Research Library to examine the ‘survival’ of sculpture. His interest in British identity led us to ask him to participate in the conference 'British Sculpture Abroad: 1945 to Now' (Tate Britain, 2004), and to write The Break Up of New British Sculpture (Issue 45 of our Essays on Sculpture Journal).

Paweł Polit

CCA, Zamek Ujazdowski, Warsaw

  • Sol LeWitt and Joseph Kosuth

Paweł Polit researched Sol LeWitt and Joseph Kosuth as part of his PhD on post-modern American conceptual art in the late 1960s and early 70s, making use of publications not readily available in Poland.

Carey Young

Carey Young, production still from the film 'Terms and Conditions'

Carey Young

Artist, London

  • Disclaimer

Carey Young came to the Institute to research ‘social sculpture’, and developed a particular interest in legal disclaimers as a form of negative space. She later worked with a lawyer to create three new disclaimers, which we showed in Gallery 4, alongside a new film, which contrasted the reality of the English countryside with the negativity of virtual space.

Suzanne MacLeod

University of Leicester

  • The Historical Development of Open-air Sites for Sculpture Display

Coming from a museum studies background, Suzanne MacLeod considered the curatorial act of positioning sculpture in a landscape in relation to its histories, traditions and established conventions. Her fellowship directly fed into her teaching in the Museum Studies Department, and into her PhD, which examines the production of spaces for art.

Craig Martin

N55's Snail Shell System in Leeds

Craig Martin

Surrey Institute of Art and Design, University College

  • Historical Precedents of N55

Craig Martin looked at the work of Robert Smithson as a precedent for the work of Danish art collective N55, given their common interest in Buckminster Fuller. He analysed the use of public (functional/monumental) space, and in order to give him a chance to test his theories, we brought over N55 and rolled their Snail Shell System (a portable living unit) round Leeds city centre.

Caroline Kirsop

Freelance Project Manager, Glasgow

  • Notions of Video and Film as Sculpture

Focussing on the space and physicality of the moving image, Caroline Kirsop considered the sculptural effects of film, and their impact on the experimental design of exhibition spaces.

Claire Bishop

Royal College of Art

  • Installation Art and Dark/'Dedifferentiated' Space

Finishing her PhD research, Claire Bishop looked at the experience of installation art, where the boundaries between the viewer’s body and the surrounding space are temporarily lost. Claire helped us in curatorial discussions regarding our own exhibition programme. Her research is published in Installation Art: A Critical History (Tate, 2005).

Susan Gordon

Harlaxton College, Lincolnshire

  • 18th and 20th-century Perceptions of Garden Sculpture

Susan Gordon examined the shift in perceptions about garden sculpture, from the 18th through to the 20th centuries, focussing on settings in the Yorkshire area. Through the fellowship she made new contacts with others working in her field.

Charlotte Chastel-Rousseau

Art Historian, London

  • 18th-century Monumental Sculpture in Urban Space

Charlotte Chastel-Rousseau was interested in understanding the original settings of 18thcentury monuments that were destroyed, altered or moved. In addition to using our archives and meeting local scholars, she organised a conference which is to be published in our series Subject/Object: New Studies in Sculpture.

Katalin Timar

Ludwig Museum of Contemporary Art, Budapest

  • Narrative Aspects of Installations

Katalin Timar’s time at the Institute focussed on the interpretation of Mike Nelson’s work, and her seminar contrasted her reading with that of other British critics. Her contact with invigilators and artists in Leeds also led to an exhibition of their work in Budapest.

Bik Van der Pol

Bik Van der Pol, 'Film Directors in a Row, Francois Truffaut in the Middle'

Bik Van der Pol

Artists, Rotterdam

  • Interactions with the Institute

Liesbeth Bik and Jos van der Pol used their joint fellowship as a way of ‘resting’ from their intensive exhibition schedule and gathering material for future work. Using tracings made from images in our library books they effectively created an original artwork which explored the ambiguity of the ‘dumb work’ of copying, which in fact requires a high level of concentration and as a result generates ideas.

Martina Droth

Alfred Gilbert, Maquette for the Sam Wilson Chimneypiece, c. 1908-14

Martina Droth

Research Co-ordinator, Henry Moore Institute

  • Sir Alfred Gilbert: The Sam Wilson Chimneypiece

Alfred Gilbert’s bronze chimneypiece in Leeds City Art Gallery was the focus of Martina Droth’s research, forming part of her PhD on the role of ornament in sculpture. The fellowship resulted in Ornament as Sculpture (Essay 30) and a display of Gilbert’s maquettes for the chimneypiece in the Institute’s exhibition Eternal Return. She maintained an active relationship with the Institute - while at the University of Reading she negotiated the transfer of a group of Thornycroft maquettes to the Leeds collections - and took up the role of research co-ordinator in 2002.

Deborah Schultz

University of Sussex

  • Maps and Journeys in Contemporary Art

Deborah Schultz looked at strategies of mapping and the use of space in the work of artists such as Richard Long, Hamish Fulton and Andy Goldsworthy. Part of her research was published in the essay ‘The Conquest of Space’: On the Prevalence of Maps in Contemporary Art (Essay 35).

Chris Evans

Artist, London

  • Gemini Sculpture Park

Chris Evans’ interviews with managing directors based at the Gemini Business Park, Leeds, resulted in an exhibition of screenprints and new art works. The interviews and the project were documented in the booklet Gemini Sculpture Park: UK Corporate Sculpture Consultancy (2001).

David Getsy

Art Institute of Chicago

  • The Erotics of the Body in the New Sculpture

Working particularly on the Thornycroft archive, David Getsy’s fellowship informed his doctoral thesis on late 19th-century British sculpture, and contributed directly to his book Body doubles: Sculpture in Britain 1877-1905 (Yale, 2004).

John Haldane

David Tremlett, 'Postcard Work' (1971)

John Haldane

Professor of Philosophy, University of St Andrews

  • The Art of Journeying

John Haldane, who has collected the work of Richard Long over three decades, took up his fellowship to explore further the idea of journeying in the work of Long, Hamish Fulton and David Tremlett. Since his fellowship he has
published a range of articles on these artists, including the entry on Tremlett in the Institute’s publication Sculpture in 20th-century Britain: A Guide to Sculptors in the Leeds Collections (2003).

Katarzyna Murawska-Muthesius

Birkbeck College

  • The Double Role of Henry Moore, as Enemy and Master, in post-war Poland

Katarzyna Murawska-Muthesius considers her fellowship to be a turning point in her professional career, encouraging and making possible a new strand of her research. Having applied to work on Henry Moore’s participation in the competition jury for the Auschwitz Memorial, she has developed her interest in relationships between British/ Western art and Polish/Eastern European art.

Andrew Cross

Artist, London

  • Sculpture as Photography

Andrew Cross was concerned with the way in which some sculpture functions like a photograph, focussing especially on Charles Ray and the question of scale in contemporary West Coast American sculpture.

Becky Beasley


Gerard Williams

Installation view of Sampled: The Use of Fabric in Sculpture in the Institute's Sculpture Research Library

Gerard Williams

Artist, London

  • Fabric in Sculpture

Gerard Williams’ fellowship was directly related to his own artistic practice, and resulted in a library display and an essay, Sampled: The Use of Fabric in Sculpture (Essay 24). He has since continued to develop his interest in the use of fabric in art-practice and teaches an MA in Textiles at Goldsmiths College.

Stephanie Taylor

New Mexico State University

  • Shared Mechanisms of Surrealists working outside Paris

Stephanie Taylor applied to study the English Surrealists as part of her doctoral research on the relationship between French and American Surrealism, and we set up a symposium for her to meet British specialists. In 2003 she coorganised the Joseph Cornell conference at the University of Essex with a contemporary fellow, Jason Edwards.

Jason Edwards

University of York

  • The Inter-relationship of the New Sculpture and the Aesthetic Movement

Completing a PhD on W. B. Yeats, Jason Edwards’ time at the Institute proved a turning point, as it shifted his focus from Victorian literature and science to Victorian sculpture. He went on to take up a Henry Moore Foundation post-doctoral fellowship and to begin work on his book Alfred Gilbert’s Aestheticism (Ashgate, 2005).

Matthew Craske

Harry Bates, 'Hounds in Leash' (1888-89, Plaster)

Matthew Craske

Oxford Brookes University

  • Rupert Gunnis: Dictionary of British Sculptors 1660-1851

Matthew Craske studied the papers compiled by Rupert Gunnis and John Physick in the Institute’s archive and also suggested how Gunnis’ Dictionary might be updated. His report formed the basis for its subsequent revision under the editorship of Ingrid Roscoe. Craske also helped us to conceive the conference on Pantheons: Transformations of a Monumental Idea, which has since been published as part of the Subject/Object series (Ashgate, 2004). In addition he co-curated the Institute exhibition Hounds in Leash.

Nancy Proctor

Antenna Audio, London

  • Mary Thornycroft Archive

Nancy Proctor’s work formed part of her research into 19th-century women sculptors in Rome. Her fellowship led to a library display of archive material Et In Arcadia Ego, and the symposium The Pygmalion Effect, dealing with sculpture, literature and femininity, later published as Sculpture in Literature (Essay 28).

Jacqui Poncelet

Ewen Henderson, 'Townscape' (1990)

Jacqui Poncelet

Artist, London

  • Attending to the Barely Made

Jacqui Poncelet placed the work of four artists - Susanna Heron, Ewen Henderson, Laura Godfrey-Issacs and Elisabeth Rosser - in the library and offices of the Institute and asked staff to talk about their interactions with the work over the month. She later invited the artists to join her for a recorded interview which formed the basis for Attending to the Barely Made (Essay 29).

Lucia Almeida-Matos

Faculdade de Belas Artes da Universidade do Porto

  • English Sources for Post-war Portuguese Sculptors

Lucia Matos used her fellowship to supplement her doctoral research work on 20th-century Portuguese sculpture, by looking at the links between Portuguese sculptors and their English teachers and influences.

Gordon Williams

Head of Art and Design, Beverley High School

  • The Uses of History on the Development of the Critical Reputations of British 20th-century Sculptors

Gordon Williams’ fellowship led to his enrolling to do a PhD at Leeds Metropolitan University - Modernist Histories of Modernist Sculpture in England: the writing of Ezra Pound, Adrian Stokes, Herbert Read and John Berger - as well as the development of teaching materials for sixth form A-level art students.

Kerstin Mey

Chair of Fine Art, University of Belfast

  • 'Duel': Tracey Mackenna and Karla Sachse

Exploring her interest in artistic identities, Kerstin Mey brought together artists Mackenna and Sachse to make an exhibition on-site in the Institute’s Gallery 4, and published her account of this ‘arranged encounter’ in the essay Duel (Essay 12).

David Ward

Artist, Wiltshire

  • Rodin, 'The Age of Bronze'

Rodin’s 'Age of Bronze' had only recently arrived in Leeds when David Ward applied to study its particular history and its remarkable patina. Using performance, film and photography, Ward’s research culminated in a beautiful book entitled Casting the Die.

Elisabeth Rosser

Elizabeth Rosser, 'Untitled III' (1986), shown at the Ugly Edge conference

Elisabeth Rosser

Sculptor, London

  • The Ugly Edge

Galvanised by her encounter with William Tucker, Rosser applied for a fellowship to pursue the question of how to talk and write about sculpture that looks lumpen and unshaped, and why sculpture which involved modelling and touch had increasingly been undervalued.

Sighle Breathnach-Lynch

Curator of Irish Paintings, National Gallery of Ireland, Dublin

  • The Representation of Workers in the Hamo Thornycroft Archive

Having worked on public monuments in the context of Irish nationalism, Breathnach-Lynch wished to test her findings against the ‘mainland’ context of commemorative statuary as documented in our archive (and in particular that of Hamo Thornycroft), in other local repositories and by English scholars.

Dr Dawn Pereira

University of East London

  • William Mitchell's Life as a Post-War British Artist

Dawn Pereira is an artist, writer and teacher, initially trained at Goldsmiths College, London, as a ceramicist and then working for many years in education and community contexts, particularly with ceramics, mosaic and concrete.

Dawn discovered the innovative work of architectural sculptor William Mitchell (b.1925) whilst researching her MA Art in Architecture dissertation, undertaken at the University of East London in 1998. This interest led to her PhD thesis ‘Art for the Common Man: The Role of the Artist within the London County Council (1957-65)’ awarded in 2009.

Dawn’s Post-Doctoral Fellowship award will support her production of a publication evaluating Mitchell’s life as a post-war British artist. Although renowned for his work in concrete, Mitchell also created sculptures, murals, free-standing walls and fountains in combinations of fibreglass, metal, ceramics, glass and wood.

The publication will explore his development of themes and use of experimental materials, his influence on the design, techniques and technologies of the post-war built environment and the nature of his extensive collaboration with architects and industry. This research will bring together new perspectives regarding Mitchell’s ‘classless’ form of public art; examining its physical, aesthetic and cultural relevancy to the re-development of Britain after the Second World War and to the lives of its people, with the evolution of a more immersive sculptural experience for the viewer.

Dr Charlotte Drew

University of Bristol

  • Invention and Industry: The Victorian Renaissance of Ceramic Sculpture

Ceramic sculpture of Victorian Britain subverts traditional views of nineteenth-century sculpture through its material, subject matter, decorative application, polychromy and industrial methods of manufacture. It also furthers our understanding of the Victorian reception of the Italian Renaissance period from a sculptural perspective: from life-size Minton majolica elephants to the architectural relief work of Conrad Dressler, the ceramic revival of the Victorian period is undoubtedly rooted in Quattrocento precedents.

Charlotte's book project is helping to rewrite this key period in the history of sculpture, exploring nineteenth-century British sculpture and sculpture criticism from the perspective of ceramics. Her research considers the critical, artistic and industrial responses to Quattrocento ceramic sculpture in Victorian Britain, including texts by Ruskin, Pater and Symonds and artistic collaborations between Minton, Doulton and sculptors of the period. She also highlights the importance of the Italian Sculpture collection at the South Kensington Museum, a predominantly terracotta vision of sculpture, as a visual catalyst for key Victorian texts that formed the foundation for the modern study of the Italian Renaissance period.

Dr Elisa Foster

Henry Moore Institute

  • Painted Black: Inventing the Black Madonna in Pre-Modern Europe

Elisa Foster is currently researching a publication on the ‘Black Madonna' in European art from c. 1200-1700 - the term referring to the depiction of the Virgin Mary with dark-coloured skin. Provisionally titled Painted Black: Inventing the Black Madonna in Pre-Modern Europe, her book will be an important contribution to scholarship on both Black Madonnas and questions of pre-modern race and colour.

This book sets out to consider the medieval and early modern contexts of Black Madonna statues through careful examination of the changing functions and visual representations of key examples in Western Europe. Her project considers the multiple interpretations of blackness that co-existed in pre-modern Europe and the responses from various audiences, including clergy, pilgrims and iconoclasts. Many of these sculptures are re-painted or are no longer extant, and Dr Foster's research provides a methodology for art historians to explore the ephemeral aspects of visual culture linked to these sculptures.

Dr Foster's research on this subject has been published in Studies in Iconography 37 (2016) and Envisioning Others: Race, Color and the Visual in Iberia and Latin America, ed. Pamela A. Patton, Brill (2015). She is currently co-editing a collection of essays titled Medieval Devotion in Britain and Its Afterlives, forthcoming in 2017. Her research in Yorkshire expands her interest in destroyed objects and iconoclasm, focusing specifically on the shrine of Corpus Christi in York.

Dr Kate Sloan

University of Edinburgh

  • Radical Pedagogies in Post-War British Art

Kate Sloan's project will investigate radical visual arts pedagogies in the post-war era in Britain. She will be examining the instrumental presence of system, cybernetic and network theories in the art school and also exploring the highly conceptual use of sculptural objects within the curriculum. The project will culminate in the production of a book about 'Groundcourse', Roy Ascott's innovative foundation course at Ealing and Ipswich in which students created devices, machines and games which were intended to modify their interactions with different environments and situations. This course, with its exploration of wartime environments and its revolutionary approaches to fine art education was one of the most experimental teaching models of the twentieth century.

In addition, the project will produce a number of articles reassessing the Basic Design movement in art education at Durham and Leeds in a post-war context. Using hitherto unpublished student works of art as well as original interview material with staff and students, these articles will offer exciting new insights into both the teaching and working practices of several British artists, including Eduardo Paolozzi, Richard Hamilton, Tom Hudson and Harry Thubron. With regards to both Groundcourse and Basic Design, the pedagogical models offer fascinating insights into the creative ideologies of the day – a post-war world changed irrevocably by a new age of technology.

Dr Jessica Barker

The Courtauld Institute of Art

  • Experiencing Tomb Sculpture in Medieval Europe

Funerary monuments are essential to our understanding of sculpture in the medieval period. Tomb monuments were a form of sculpture in which broad sections of medieval society participated, whether through commissioning a memorial, being depicted on one, or seeing tombs in their local church. Studies of medieval monuments have tended to focus on the process of creation, examining issues of patronage, manufacture and dating.

This project seeks to understand and characterise tomb sculpture from a different perspective: the interaction between the monument and the viewer. Exploring issues such as visibility, time, emotion and sound, Jessica Barker will consider the ways in which funerary sculpture sought to condition particular responses from the viewer. Her project will also examine images of medieval tomb sculpture (drawings, engravings, photographs and digital models) from c. 1700 to the present day, considering how these reproductions affect our perception and experience of the memorials themselves.

Dr Kirsi Peltomäki

Oregon State University

  • Post-war Modernism, Experience, and Individuation: Anthony Caro and the New Generation

British sculpture in the 1960s, in particular the work of Anthony Caro, was associated with the post-war Modernism formulated by critics Clement Greenberg and Michael Fried. Yet the critical debates around the work of Caro and the New Generation sculptors also levied pressure on the Greenbergian paradigm by foregrounding the experiential dimension of viewing encounters, demonstrating how critical and artistic investments in the Modernist art object became entangled with new ideas about the individual as well as perception, materiality, narrative, and experience. Peltomäki's research project seeks to understand how these notions of experientiality related to local context, and to analyse how models of experientiality and individuation were configured into both canonical and vernacular art criticism.

Marc Treib

Isamu Noguchi with his work in Shikoku, 1986

Marc Treib

University of California, Berkeley

  • Defining A Sculptured Outdoors: The Landscapes of Isamu Noguchi

With a practice that spanned from objects to landscapes, Isamu Noguchi argued that, at root, sculpture created space; the medium and dimensions were only variants in that basic quest. For Noguchi, no contradiction existed between a work displayed in space, and a space which constituted the work.

Marc Treib plans to pursue the "missing link" between the object-sculpture and the sculptured-space, attempting to determine the relation from object-sculpture, to site-specific sculpture, to sculpture-landscape. Any classification and understanding of Noguchi's project will necessarily distinguish the sculpture-landscape from land art, in which category Noguchi landscapes such as the California Scenario do not fit comfortably. Despite their size, power, and appropriateness to their remote sites, much land art nevertheless remains an object removed from the city. In contrast, Noguchi's landscapes tended to be urban or suburban and destined for almost daily occupation. These differences in location and purpose make the evaluation of such works problematic, and seeking a structure for linking Noguchi's sculptures with the inhabited spatial works quite challenging. Positioning works such as these - and by no means has Noguchi been the only artist to create places and public spaces - is not easy, as their intentions and functions are composite rather than singular. They constitute a distinct category in which the place is entirely of the artist's own making.

Dawna Schuld

Indiana University

Michael Tooby

Bath School of Art and Design, Bath Spa University

Professor Ileana Pintilie

Paul Neagu, 'Nine Catalytic Stations' (1991, drawing)

Professor Ileana Pintilie

West University, Timișoara

  • Paul Neagu: From Tactile Object to Catalytic Sculpture

Ileana Pintilie's research focuses on Paul Neagu (1938-2004), a Romanian-born British artist, with special emphasis on the evolution from the concept of 'palpable art' and the tactile object, to 'catalytic' sculpture, from the organic object, the expression of a manufacturing tradition, to the monumental language of sculpture.

Educated in Bucharest, when the official Romanian art was imbued with ideology, Neagu was in search of other cultural benchmarks, seeking inspiration in archaic artistic traditions, in folk art. He was the member of a generation of artists who felt compelled to renounce the communist past and find their own, new way towards the freedom of expression. At the same time, he applied several ideas, which led him to the concept of generative art. All these experiments, numerous installations and performances gave birth to the first sculpture in the 'Hyphen' series. With this sculpture, which he considered a generator of vital artistic force, a whole system of objects was created, claiming more and more space.

Art historian and art critic, Professor at the West University, Faculty of Fine Arts in Timișoara, freelance curator Ileana Pintilie has curated many one-person and group exhibitions in Romania and abroad, and published widely on modern and contemporary art.

Professor Christopher Townsend

Royal Holloway, University of London

  • Duncan Grant's Abstract Kinetic Collage Painting, Sound and his Omega Workshops carpet design

Christopher Townsend's project examines the kinetic relation between the body and the artwork in Duncan Grant's Abstract Kinetic Collage Painting with Sound (1914) (aka 'the Scroll') and his contemporaneous designs of carpets for the Omega Workshops. One artwork is a painting that moves past the spectator, the other works are effectively paintings on which the spectator may walk.

His research will examine the formal relationships between the similar motifs on 'the Scroll' and the carpet designs, using Grant's correspondence, notebooks and sketch books; it examines the historical background to these works, in particular the influences within French modernism that are reflected in 'the Scroll's' kineticism, and which derive from Grant's trip to Paris in early 1914 and his interest in the ideas of the French philosopher Henri Bergson.

Allan Antliff

University of Victoria

  • From Vorticism to Dada

Allan Antliff will be developing his theories on anarchism's central role in the formulation and reception of early twentieth-century modernism by examining the activities of Dadaists in New York between 1915 and 1923, part of a publication in progress, Reconfiguring New York Dada. Antliff will spend his fellowship specifically researching an argument for an American variation of Vorticism, independent of but influenced by the British-based movement.

Jeremy Howard

Vladimir Markov (Voldemārs Matvejs), uncut photograph for Markov's book 'Negro Art' (photograph taken 1913)

Jeremy Howard

University of St Andrews

  • Vladimir Markov: The Painter Who Changed Sculpture

Jeremy Howard's research is part of a wider collaborative project exploring the ideas of Vladimir Markov (1877-1914), an artist whose research into sculptural principles led him to undertake, and publish, groundbreaking research into the sculpture of Easter Island, North Asian peoples and Africa. The ultimate intention of this project is to create an exhibition and monograph/catalogue dedicated to Markov's provocative approach to art.

Jon Thompson

Installation view of Mario Merz: What Is to Be Done?

Jon Thompson


  • Arte Povera and Mario Merz

During his stay in Leeds this summer, Jon Thompson will take the opportunity to return to his longstanding interest in Arte Povera and, in particular, in the work of Mario Merz, whom he knew. Jon's interest in returning to this artist is wonderfully timely for us since it coincides with the Institute's forthcoming exhibition Mario Merz: What Is to Be Done? (28 July-30 October 2011) which looks at Merz's work from the period 1963-1977. Jon will also take part in a conference about Merz's early work in October.

Julia Bryan-Wilson

University of California

  • Crafting Dissent: Politics and Handmade Textiles in Contemporary Art

Many contemporary artists have taken up conventional textile techniques, not as a nostalgic return to the mark of the artist's hand, but to make diverse and timely political statements. This book project examines how UK- and US-based artists in the last several decades use knitting, sewing, crocheting, and weaving to propose alternative economic and aesthetic models of making. Drawing on the works of feminist, anti-war, and queer artists and activists, Crafting Dissent investigates how polemical textile work challenges traditional notions of craft as domestic, private, or aesthetically conservative.

Dario Gamboni

University of Geneva

  • Paul Gauguin, Sculpture and Ambiguity

Dario Gamboni will be taking sabbatical leave in 2010-11 to write the manuscript for a book-length study of Gauguin. This project is part of a broader research on Gauguin’s use of visual ambiguity and aims at examining the specific ways in which the artist’s interest in the temporal, subjective quality of perception informed his sculptural works and, conversely, what sculpture contributed to what he called a search ‘at the mysterious centre of thought’. This monographic study of Gauguin’s three-dimensional work would like to contribute to an exploration of the specific contribution of the sculptural medium to the artistic use of ambiguity, especially around 1900 but not exclusively during this period.

Dorothea Dietrich

Corcoran College of Art & Design

  • Kurt Schwitters' Merz Barn: a Documentation and Analysis of the Sculptural Development and Critical Legacy of Schwitters' Merzbauten

Dorothea Dietrich will work on the late sculptural/architectural work of Kurt Schwitters (1887-1948). The focus of her study is Schwitters’ Merzbarn in Elterwater and the surviving wall work, now at the Hatton Gallery in Newcastle, to begin a critical assessment of its hybrid form as assemblage and architecture at the intersection of the organic and conceptual, and to explore its sculptural legacy in England.

Jonathan Katz

Visiting Associate Professor, Smith College

  • Experiential Eros: Intersubjective Sculpture in the 1960s

An examination of how artists of the period mobilised the body and its pleasures towards crafting a universal erotic subject, in clear contrast to our current modelling of identity through difference.