Re-situating Edward Allington

  • Henry Moore Institute
  • Friday, 17 January 2020
  • In-conversation with Thalia Allington-Wood, Joy Sleeman and Judith Winter, 6pm in the Institute's seminar room

Allington was exemplary in communicating his perspectives through writing and teaching:

“There are artists who write as well as make art, and there are those who do not. I believe in writing as I believe in teaching: as part of the broader spectrum of sculptural practice. ”

Edward Allington, A Method For Sorting Cows, 1997

Join the curators Judith Winter and Thalia Allington-Wood (Estate of Edward Allington) and the art historian Joy Sleeman for an informal conversation around the words of Edward Allington.

Discussing the exhibition Edward Allington: Things Unsaid, the speakers will be addressing Allington as a writer, as well as situating his activities in a wider context: both geographically, and in terms of the emergent discourses around art writing and curating that his practice as artist, writer and educator inspired and fed into.

About the speakers

Dr Thalia Allington-Wood is an art historian specialising in early modern sculpture and is a lecturer in art history at Oxford Brookes University and University College London. She is also the daughter of the artist Edward Allington and manages his artistic estate.

She read English Literature at the University of Manchester and completed her MA and PhD in Art History at University College London, with a thesis on the monstrous statues of the Sacro Bosco of Bomarzo. She is particularly interested in the materiality and wider viewing environments of objects in relation to their making and reception, as well as canon formation, periodization and what has been termed ‘visual historiography’.

Her research has been supported to date by awards from the AHRC, the Society of Architectural Historians and the Sixteenth Century Society and fellowships at UCLA and Dumbarton Oaks of Harvard University. Thalia also works in museum education, curatorial and research, with positions previously held at London's Victoria and Albert Museum and The Design Museum.

Dr Joy Sleeman’s research is focused on the histories of sculpture and landscape, especially 1960s and 70s Land art. Her book Roelof Louw and British Sculpture since the 1960s was published by Ridinghouse in 2018, and she has published essays on the work of David Lamelas (Los Angeles US: Getty Publications, 2017) and on 'Lawrence Alloway, Robert Smithson and Earthworks', in L. Bradnock, C. J. Martin and R. Peabody (eds), Lawrence Alloway: Critic and Curator (Los Angeles US: Getty Publications, 2015).

Together with Nicholas Alfrey and Ben Tufnell, she co-curated the exhibition Uncommon Ground: Land Art in Britain 1966-1979, for the Arts Council Collection and Hayward Touring in 2013-14.

Her current research project, ‘Future Land Art’, is exploring both the future of Land art and notions of futurity in historic Land art. Joy is Professor of Art History and Theory at UCL Slade School of Fine Art, where for many years she was a colleague of Edward Allington.

Judith Winter is an independent curator, writer and lecturer in Critical and Contextual Studies at Gray’s School of Art. Her current research focuses on ways of working that traverse disciplinary boundaries, art as experience (art school pedagogy) and contemporary curatorial practices.

She studied sculpture at Central Saint Martins School of Art and Sculpture Studies at the University of Leeds. It was here that she met Edward Allington, working with the artist on gallery and off-site projects.

Since the mid-1990s she has worked as inaugural curator for Middlesbrough Institute of Modern Art (mima) and Head of Arts for Dundee Contemporary Arts (DCA). Her work was critically recognized in 2007 when she received a Foundation for Arts Initiatives International Curators Award (FfAI), and 2013-18 was part of the research community Knowing from the Inside, a 5-year initiative funded by a European Research Council Advanced Grant held by Professor Tim Ingold, University of Aberdeen.

Booking

This event is free of charge and open to all, but booking is advised. For more information please contact Kirstie Gregory, our Research Coordinator.

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Venue details


Venue address

Henry Moore Institute
The Headrow
Leeds
LS1 3AH
United Kingdom
T: 0113 246 7467

Opening times

Open 7 days a week, except Bank Holidays, from 10am to 5pm and until 8pm on Wednesdays.
Galleries are closed on Mondays.

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