My research focuses upon European and American art after 1945, with a particular emphasis on the history and theory of drawing and its relationship to time and embodiment. My most recent work has focused upon the American artist Robert Rauschenberg, and in particular his series of illustrations after Dante's Inferno, in which a radically experimental mid-20th century art practice met one of the most celebrated works of the European canon. This series of illustrations is the subject of my first monograph, Rauschenberg/Dante: Drawing a Modern Inferno, which will be published by Yale University Press in May 2017. In connection with this research I contributed an essay to the catalogue accompanying the current Rauschenberg retrospective, organised by the Museum of Modern Art, New York, and Tate Modern.
I have written extensively on post-war and contemporary art, with recent articles on the work of Eva Hesse, Wols, Henri Matisse and Tacita Dean appearing in journals such as Art History, Oxford Art Journal, Master Drawings, Art in America and Tate Papers. I frequently write catalogue texts on contemporary artists, and have also curated two group exhibitions (Motion Capture: Drawing and the Moving Image, at the Lewis Glucksman Gallery, Cork, in 2012, and Compression, at Ormston House, Limerick, in 2015).
For further information, please see my page on academia.edu (external link).
I would be happy to consider dissertation proposals on any aspect of post-war and contemporary art, as well as broader projects concerning more theoretical aspects of art history and aesthetics.
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
“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, 9781633450202UEA Repository
Tate Introductions: Robert Rauschenberg,
ISBN 1849764891, 9781849764896UEA 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,
Eva Hesse’s Wanton Duality: Liquidity and Compression in the Mechanical Drawings of 1965,
in Master Drawings
pp. 365-384UEA Repository
Ink Machines: Flüssiges in Eva Hesses ‚Maschinenzeichnungen‘,
in Verflüssigungen: Ästhetische und semantische Dimensionen eines Topos.
Wilhelm Fink Verlag
Wols and Smallness,
in Oxford Art Journal
pp. 245-264Full Text UEA Repository
Tacita Dean and Still Life,
in Art History
pp. 960-977Full Text UEA Repository
Do, Undo, Redo: On Recent Drawings by Peter Morrens,
in Peter Morrens: Covers.
ISBN 9789491262104UEA Repository
Universal Fragments: On the Work of Trevor Shearer,
Drawing Deformation: On Alice Maher’s Flora and Related Works,
in Alice Maher: Becoming.
Irish Museum of Modern Art
ISBN 978-1907020926UEA Repository
Lightning and Rain: Phenomenology, Psychoanalysis and Matisse’s Hand,
in Tate Papers
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,
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. 3-10UEA Repository
Cinematic Drawing in a Digital Age,
in Tate Papers
in Susan Morris: Sontag/Montag.
ISBN 1903724031UEA Repository
The Truant Hand and Cinematic Drawing in Matisse's Themes and Variations,
pp. 66-84UEA Repository
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)