Ed’s research focuses upon art made after 1945 in Europe and North America, and in particular upon problems of artistic autonomy, the history and theory of drawing, and the relationship between image and text. Ed’s first monograph Rauschenberg/Dante: Drawing a Modern Inferno, was published by Yale University Press in May 2017. He has written catalogue essays for the Museum of Modern Art, New York, and Tate Modern, London, and his articles have appeared in Art History, the Burlington Magazine, Oxford Art Journal, Master Drawings, and Art in America.
Ed joined the Department of Art History and World Art Studies in 2015. For the previous seven years he was a lecturer in History of Art at University College Cork, Ireland, and prior to that taught at University College London, University of York, and Camberwell College of Art and Design. Ed has also worked as a curator, organising exhibitions of contemporary art, and is founding co-editor of the contemporary arts review magazine, Enclave Review (the magazine’s online archive is here).
B.A. History of Art, Nottingham University, 2000
M.A. History of Art, University College London, 2002
Ph.D. History of Art, University College London, 2007
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Dating the Dante Drawings: Rauschenberg and Method,
in Burlington Magazine
pp. 964-975Full Text UEA Repository
Rauschenberg/Dante: Drawing a Modern Inferno,
Yale University Press
ISBN 9780300221565Full Text UEA Repository
“To use the very last minute in my life”: Dante Drawings and the Classical Past 1958-60,
in Robert Rauschenberg.
Museum of Modern Art Press
ISBN 1633450201, 9781633450202Full Text UEA Repository
Tate Introductions: Robert Rauschenberg,
ISBN 1849764891, 9781849764896Full Text UEA Repository
Drawing from Damaged Life,
in William Kentridge and Vivienne Koorland : Conversations in Letters and Lines.
pp. 158-167UEA Repository
To Diagram Without Stilling: On Maud Cotter's Sculpture,Full Text
Eva Hesse’s Wanton Duality: Liquidity and Compression in the Mechanical Drawings of 1965,
in Master Drawings
pp. 365-384Full Text UEA Repository
Ink Machines: Flüssiges in Eva Hesses ‚Maschinenzeichnungen‘,
in Verflüssigungen: Ästhetische und semantische Dimensionen eines Topos.
Wilhelm Fink Verlag
ISBN 978-3-7705-5852-0Full Text
Tacita Dean and Still Life,
in Art History
pp. 960-977Full Text UEA Repository
Wols and Smallness,
in Oxford Art Journal
pp. 245-264Full Text UEA Repository
Do, Undo, Redo: On Recent Drawings by Peter Morrens,
in Peter Morrens: Covers.
ISBN 9789491262104Full Text UEA Repository
Drawing Deformation: On Alice Maher’s Flora and Related Works,
in Alice Maher: Becoming.
Irish Museum of Modern Art
ISBN 978-1907020926UEA Repository
Universal Fragments: On the Work of Trevor Shearer,
Lightning and Rain: Phenomenology, Psychoanalysis and Matisse’s Hand,
in Tate Papers
18Full Text UEA Repository
in Alison Turnbull: Sea the Stars.
Talbot Rice Gallery
ISBN 9781873108574UEA Repository
in GRAPHOLOGY : Drawing – from Automatism to Automation.
ISBN 095582995XUEA Repository
Film, Drawing and the Body,Full Text
Moves, Throws, Plays: Tom Hackney and Lizi Sanchez,
in The Knight Turns its Head and Laughs : Tom Hackney and Lizi Sánchez.
Stephen Lawrence Gallery
pp. 3-10Full Text UEA Repository
Cinematic Drawing in a Digital Age,
in Tate Papers
14Full Text UEA Repository
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American art after 1945
European art after 1945
The relationship between art, theory and philosophy in the 20th and 21st centuries
While working in the Department of History of Art at University College Cork, Ireland, Ed was primary supervisor for two PhD projects, both of which were completed and examined in 2016:
Rachel Warriner: 'Nancy Spero: Pain and Politics, 1966-1976' (Fully funded by the Irish Research Council)
Kirstie North: ‘Pedem Referens: Art Historical Memory and the Analogue in the Work of Tacita Dean, Jeremy Millar and Lucy Skaer’
Ed is currently co-supervising two PhD projects:
Sarah Kelleher: 'Sculpture's Metamorphoses: A study of the work of Maud Cotter, Dorothy Cross and Alice Maher'
Katherie Mack: 'The Constructed Space: The Poem and the Museum in Contemporary Theory and Practice'
Ed welcomes PhD proposals on any aspect of European and North American art after 1945, as well as broader projects concerning more theoretical aspects of art history and aesthetics. Please feel free to contact him directly for an initial discussion about potential PhD projects.
External Activities and Indicators of Esteem
External Examiner, M.A. in Art History, University of Nottingham, winter 2015 - present.
External Advisor for PhD upgrade of Andrew Symonds, Department of Art History, University of Edinburgh, September 2016.
External Examiner, B.A. Art, Dún Laoghaire Institute of Art, Design and Technology, autumn 2015 - present.
External Examiner, MSc programmes, ‘History of Art, Theory and Display’, and ‘Modern and Contemporary Art: History, Curating and Criticism’, University of Edinburgh, 2011-2015
Member of Programme Re-validation Panel for Faculty of Film, Art and Creative Technologies, Dún Laoghaire Institute of Art, Design and Technology, November 2014.
External Examiner for PhD of Stephanie Straine (The Ground of Drawing: Graphic Operations in the 1960s and 1970s), University College London, December 2013.
External reader of manuscripts for Art History, Papers of Surrealism, World Art, and Object.
2017, 6 April, conference presentation, 'Mobility, Contingency and Constraint in Robert Rauschenberg's Solvent Transfer Drawings,' Association of Art Historians Annual Conference 2017, Loughborough University.
2017, 16 March, invited lecture, 'Rauschenberg/Dante: Drawing a Modern Inferno,' Camberwell College of Arts, London
2017, 13 March, invited lecture for Modern and Contemporary Art Research Cluster, University of York, 'Rauschenberg, Dante and the Day's Residues'.
2017, 27 Feb., invited lecture for American Art Research Seminar, Courtauld Institute of Art, London, ‘Imagery, Allegory and Intention in Robert Rauschenberg’s Illustrations for Dante’s Inferno’.
2017, 16 Feb., invited lecture for Cambridge Digital Cultures Research Group, King’s College, Cambridge, ‘Fortuna: Drawing, Materiality and Contingency in a Digital Age’.
2016, 4 Nov., invited public lecture at Pontifical Catholic University of Rio de Janeiro, Brazil, ‘Rauschenberg/Dante: Drawing a Modern Inferno’
2015, 1 Oct., invited lecture at Edinburgh College of Art History of Art Research Seminar, ‘Compression’.
2015, 24 Feb., invited lecture at Drawing Institute of the Morgan Library and Museum, New York, ‘To Hell with the Media: On Robert Rauschenberg’s XXXIV Drawings for Dante’s Inferno.’
2014, 22 Nov., Keynote Address for The Land of Zero conference at the Crawford Art Gallery, Cork, 'Utopia Zones: On Some Problems in Contemporary Art (via Joseph Beuys)’.
2014, 26 Feb., invited lecture at University of Glasgow, Institute of Art History: ‘Tacita Dean and Still Life’.
2013, 13 April, invited contribution to “Étant donnés”: Metamodernist Symposium, Modernisms Research Centre, University College Cork: ‘Chess Painting and Duchamp’s Modernism: A Conversation between Tom Hackney and Ed Krčma’.
2013, 6 Feb., invited lecture for Irish Museum of Modern Art, Dublin: ‘Alice Maher: Drawing, Contingency and Metamorphosis’.
2013, 2 Feb., invited paper for Eva Hesse in 1965 symposium, University College London: ‘Liquidity in Eva Hesse’s Machine Drawings’.
2012, 23 Nov., invited paper for Liquefactions conference, Universität der Künste, Berlin: ‘Liquid Language: On Henri Michaux and Marcel Broodthaers’.
2012, 16 Nov., invited paper for the symposium ‘Involuntary Drawing’ at Art Exchange, University of Essex: ‘Susan Morris: Action/Abstraction’.
2012, 8 March, invited gallery talk on Anna Barriball for Fruitmarket Gallery, Edinburgh: ‘Rub and Bleed: The Meeting of Materials in Anna Barriball’s Drawings’.
2011, 19 May: invited lecture for Public Gesture @ The LAB, Dublin, ‘Shaman or Sham? The Myths and Materials of Joseph Beuys’.
2011, 12-13 May, guest lecture at Transatlantic Dialogues in the History of Art conference, organised by the Terra Foundation, École normale supérieure, Paris. ‘Signs and Spectres in Robert Rauschenberg’s XXXIV Drawings for Dante’s Inferno.’
2011, 9-12 Feb., presented a paper at College Art Association Annual Conference, New York: ‘Undoing as Doing: Erasure in Post-War Drawing’ (Session: ‘The Erasure of Contemporary Memory’)
2010, 28 April, invited paper for The Centre for the Study of Contemporary Art, London: ‘“The Mind As a Running Transformer”: On Robert Rauschenberg’s Small Rebus (1956).’
2010, 15 April, presented a paper (by proxy) at the Association of Art Historians Annual Conference in Glasgow: ‘Wols, Smallness and Creaturely Life’.
2009, 25 Sep., invited paper for The Drawing Incident conference @ Sint-Lucas Visual Arts, Ghent: ‘“Vanishing into Self-Variety:” Erasure and Contingency in Post-War Drawing.’
2009, 19 June, invited paper for ‘On Drawing’ symposium, University of York: ‘“Vanishing into Self-Variety:” Erasure and Contingency in Post-War Drawing.’
2008, April, Association of Art Historians Annual Conference, London: ‘Resistant Remainders: Beuys, Broodthaers and Tacita Dean’s Darmstädter Werkblock.’
2007, April, Association of Art Historians Annual Conference, Belfast: ‘Liquidity: Beuys, Drawing and ‘Material Imagination’’
2007, March, invited lecture for Wimbledon College of Art, London: ‘Drawing and Film’.
2006, March, invited lecture for Slade School of Fine Art, London: ‘A Dent in Falsity: Beuys and Broodthaers’.
2005, October, invited lecture for Prince’s Drawing School, London: ‘The Truant Hand and Cinematic Drawing in Matisse’s Themes and Variations.’
Unit of Assessment Coordinator, Art History and World Art Studies (September 2016-Present)