The Associate Scholars group is made up of, predominantly, early-career researchers based at The Courtauld in conjunction with distinguished Visiting Professors. Postdoctoral Fellows working on a range of topics and Visiting Lecturers and Visiting Professors teaching courses at The Courtauld form the core membership of this group. The Associate Scholars meet at least once a term giving an opportunity for the members to offer presentations and share knowledge about their research.
The 2013-14 Associate Scholars are listed below. Archive of Associate Scholars
Jocelyn Anderson is a visiting lecturer. She completed her PhD on country-house guidebooks in the late eighteenth and early nineteenth centuries in May 2013; while studying, she was supervised by Dr Christine Stevenson and received grants from the Yale Center for British Art and the Canadian Centre for Architecture. In 2013-14, she is teaching 'Neoclassical Architecture and Design in London' for first-year BA students, and she is co-teaching the MA Special Option 'Modernity and Antiquity in British Architecture, 1615 - 1815'. She is also an assistant editor of Architectural History, and in January 2014 she will take up a postdoctoral fellowship at The Paul Mellon Centre for Studies in British Art.
Charlotte was awarded her PhD in 2007 by the University of St Andrews for a thesis examining the intersection of nationalist and modernist aspirations in turn-of-the-century Finnish architecture. She went on to hold the post of Postdoctoral Research Fellow on the Viennese Café Project at the Royal College of Art. She is editor and contributor to a forthcoming collection of essays: The Viennese Café and fin-de-siecle Culture, Berghahn 2013. Other recent publications include ‘Nation-building and Design: Finnish Textiles and the work of the Friends of Finnish Handicrafts', Journal of Design History, 23:4, 2010; pp. 351-365.
Charlotte De Mille
Ana Balona de sa'oliveira
Ana Balona de Oliveira completed her PhD in Modern and Contemporary Art, funded by the Foundation for Science and Technology (FCT, Portugal), at The Courtauld in 2012. She wrote her dissertation on the artwork of the South African and Portuguese artist Ângela Ferreira (b. Maputo, Mozambique, 1958), and has been interested in questions of identity and difference, feminisms, displacement, migration and globalisation. Ana published essays in Third Text, Mute, Fillip and in exhibition catalogues, and lectured at The Courtauld, Wimbledon College of Art, Westminster University, the University of Porto and other institutions. Ana still teaches at the Courtauld, and is now undertaking her post-doctoral research at the University of Lisbon and the New University of Lisbon, also funded by the FCT, on narratives of empire, post-colonialism, migration and globalisation in contemporary art. As a Visiting Lecturer at The Courtauld, Ana is teaching the MA course Twentieth-Century Sculpture: Production and Perception, with Visiting Professor Anne Wagner, and an undergraduate course on the impact of migration and diaspora on contemporary art in Britain. Ana is also an independent curator.
Katie Faulkner has recently completed her PhD at the Courtauld Institute of Art. She specialises in nineteenth- and early twentieth-century British sculpture and its relationship with visual and popular culture. She is a visiting lecturer on the MA course, The Aesthetic Body: Science, Aestheticism and the image of the Body in British Art and also teaches an undergraduate course on modern sculpture in London. Katie is also a public programmes educator at the Courtauld Gallery and currently edits the Courtauld postgraduate journal immediations.
Ellery is the Terra Foundation for American Art Postdoctoral Teaching Fellow 2013-14. She recently completed a two-year Mellon fellowship at the Center for the Humanities, University of Wisconsin-Madison, where she also taught classes in the art history department (2011-2013). She received her PhD in the History of Art from the University of Pennsylvania in 2011 with a dissertation entitled “Arresting Beauty: The Perfectionist Impulse of Peale’s Butterflies, Heade’s Hummingbirds, Blaschka’s Flowers, and Sandow’s Body.” Her research has been supported by grants and fellowships from the Wyeth Foundation, Smithsonian American Art Museum, Philadelphia Area Center for the History of Science, Andrew W. Mellon Foundation, and American Council of Learned Societies. She earned her MA from the Williams College Graduate Program in the History of Art and her BA in Art History from Wellesley College. She is currently working on a book manuscript focused on nineteenth-century ideas about perfection and its preservation and is a co-editor of the “Object Lessons” column for the online journal Common-place. While at The Courtauld she is also teaching a BA level 3 class on art and natural history of the Americas, utilizing London collections.
Jacopo Galimberti has recently completed his PhD at the Courtauld Institute of Art, and he is a teaching assistant and visiting lecturer in 2013-14. He published extensively on the Western European art of the 1960s, concentrating on its relationship with the Cold War and Marxism. His research projects focus on the relationship between art and politics in Western Europe from the late 1950s to the late 1970s.
Pia Gottschaller took a BA in art history at Ludwig-Maximilians-Universität in Munich and trained at The Courtauld Institute of Art to become a painting conservator (Dip 1997), then worked at the Harvard University Art Museums, Cambridge, and at The Menil Collection, Houston, where she participated in the conservation of the Rothko Chapel murals. She received her PhD in 2003 from Technische Universität Munich for a thesis on the artistic process of Blinky Palermo. Subsequently, she worked as Associate Conservator at the Whitney Museum of American Art in New York, followed by a Postdoc Research Fellowship at Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte in Rome, and the position of Assistant Fine Arts Director at German Academy Villa Massimo, Rome. Her research interests focus on issues of technical art history, in particular with regard to postwar and contemporary European and American artistic practices.
Jack Hartnell is a Visiting Lecturer at the Courtauld Institute of Art, London, where also recently completed an AHRC-funded doctoral thesis that uses the medical sciences as a framework for examining medieval art and art history. In 2013-14 he is also a Teaching Fellow at University College London, and from 2014 will take up a Post-Doctoral Fellowship held between the Max Planck Institute for the History of Science in Berlin and the Victoria and Albert Museum in London, where he will be focussing on the design of surgical knives and saws in the late Middle Ages. Amongst other institutions he has been an invited speaker at the University of Oxford, the Medieval Seminar Series of the University of Cambridge, the Académie Nationale de Médecine in Paris, and the Photographers’ Gallery, London.
Nicholas Herman specialises in French and Italian painting and manuscript illumination of the period around 1500. He holds the Samuel H. Kress Foundation Institutional Fellowship at the Courtauld for the 2012-14 academic years. He recently completed his PhD, a study of the French court painter Jean Bourdichon (1457-1521), at New York University’s Institute of Fine Arts, where he also received an MA in 2008 after completing undergraduate studies at the University of Toronto in 2006. He has previously held Swarzenski and Rousseau fellowships at the Metropolitan Museum of Art (2010-12), a visiting fellowship at the Sir John Soane’s Museum, and a doctoral fellowship from the Social Sciences and Humanities Research Council of Canada. Between 2007 and 2010, he worked as Curatorial Assistant in the Department of Medieval & Renaissance Manuscripts at the Pierpont Morgan Library and Museum, New York. His article ‘Excavating the Page: Virtuosity and Illusionism in Italian Book Illumination, 1460-1520’ appeared in Word & Image in 2011, and he has contributed to the recent France 1500 and Tours 1500 exhibitions.
Susan Jones wrote her PhD at The Courtauld on Jan van Eyck. From 1994 to 1996, she was Assistant Curator at The National Gallery, London, and from 1998–2001 Old Master Society Fellow in the Department of European Painting at The Art Institute of Chicago. She has published widely on Jan van Eyck and is a co-author of Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection( Yale University Press, 2008).
Liz Kim specialises in late 20th century art and contemporary art, particularly in the areas of criticism, market, interdisciplinarity, globalisation, and modernism in the late 20th century. She is finishing her PhD thesis on the art of the 1980s in New York, focusing on media differentiation and critical narrative, and she has been organising research events at the Courtauld that address globalisation and interdisciplinarity. She has worked with various art organisations on special projects, including the Serpentine Gallery, the Showroom, and the Gwangju Cultural Foundation. She has planned and taught courses about modern and contemporary art at University College London and the Courtauld Institute.
Sara Knelman is a Canadian writer and curator based in London. Her PhD research at the Courtauld, supervised by Julian Stallabrass, explores photographic exhibition in public art museums in Britain and the US from 1967 to 2007. She was Curator of Contemporary Art (2006-2009) at the Art Gallery of Hamilton, Canada, and Talks Programmer (2012) at The Photographers’ Gallery, London. In 2013-2014 she is Visiting Lecturer at the Courtauld and Consultant Lecturer at Sotheby’s Institute of Art. She has led a Courtauld Summer School course on Contemporary Photography and lectured at Christie’s Education and the Notre Dame London School. Sara writes regularly about photography and contemporary art, served as a jury member for theAimia-AGO Photography Prize (2012) and Magenta Foundation’s Flash Forward prize for emerging photographers (2013), and is a contributing editor toEither/And, an online collaborative project exploring issues in photography and new media.
sara BETh Levavy
Sara Beth Levavy recently completed her Ph.D. in the Department of Art & Art History at Stanford University. Titled 'Immediate Mediation: A Narrative of the Newsreel and the Film', her thesis looks to the interwar newsreel as narrative and historical object. At The Courtauld, Levavy is teaching a BA3 Special Option course in autumn 2013 called The Spectacle of (Popular) Media. The course considers avant-garde art and media production between 1880 and 1960, exploring the ways in which photographers, filmmakers, the mass print media, and other fine artists experimented with the nature of medium. In 2006 Levavy published'Land of Liberty in the World of Tomorrow' in Film History and from 2008-2010 worked on a project with the George Eastman House in Rochester, NY and the Cineteca del Friuli in Friuli, Italy to research the filmography of the Davide Turconi Film Frame Collection.
Caroline Levitt specialises in French art and literature of the late nineteenth and early twentieth centuries; she completed her PhD on the relationship between Guillaume Apollinaire and André Breton as manifested through their involvement and interest in artistic practices such as graffiti, illustration, cinema and the collection and construction of objects. Her article ‘Screening poetry: Guillaume Apollinaire, André Breton and experimental cinema’ appeared in the 2008 issue of Immediations. Over the next year, Caroline plans to develop interests emerging from her doctoral research, in particular her work on Le Corbusier, which she hopes will form the basis of a book. Other research interests include collaborations between artists, writers and craftsmen and the relationships between literature and sculpture. Caroline is a visiting lecturer at The Courtauld Institute of Art.
For more information, see her profile page.
Alister Mill was until recently Associate Research Fellow at the University of Exeter for the AHRC-funded research project Painting for The Salon? The French State, Artists and Academy, 1830-1852. He is co-editing a volume of proceedings from a recent bilingual conference on the Salon to be published by Peter Lang in 2014, and is the curator of the exhibition The Paris Fine Art Salon currently on display at the University of Exeter. He is co-creator (with Dr Harriet Griffiths) of the Database of Salon Artists, which launches in November 2013. Produced in association with the Archives des Musées Nationaux in the Louvre, the database provides a comprehensive online record of over 81,000 artworks by some 9000 artists submitted to the Salon from 1827 to 1850. Alister completed his doctoral thesis on the 19th-century artist Alfred Philippe Roll at the Courtauld, where he has been a Visiting Lecturer since 2009.
Natalia Murray was born in St Petersburg where she read Art History for five years at the Academy of Fine Arts. In 1998 she completed her doctoral thesis on C18th English Mezzotint Engravings at the Hermitage Museum in St. Petersburg. Her interest in the Russian Avant-Garde was always there, but was brought to the surface when she met the grand-daughter of one of the most influential Russian art critics of the early C20th, Nikolay Punin, and began to write a book about him and his struggle to keep Avant-Garde art alive in Russia after the Revolution. Natalia’s biography of Nikolay Punin, ‘The Unsung Hero of the Russian Avant-Garde. The Life and Times of Nikolay Punin (1888-1953)’, was published by Brill Academic Publishers in June 2012. At present Natalia is writing her second PhD thesis, at the Courtauld, on the development of proletarian art in Russia after the 1917 Revolution, and its various forms of expression in the street decorations of Petrograd.
Mellie Naydenova-Slade received her BA from the University of Cambridge and her Masters and PhD from the Courtauld Institute, writing her thesis on the iconography of the Holy Kinship – the extended family of Christ. She has taught widely on the art and architecture of the Middle Ages at institutions including the Courtauld Institute, Birkbeck College, the University of Kent and the Sotheby’s Institute of Art. She is currently completing a book based on her doctoral thesis which has been supported by a post-doctoral fellowship from Yale’s Paul Mellon Centre for Studies in British Art. Her publications have focused on English medieval art, spanning a period from the late Romanesque to the Reformation and reflecting a particular interest in wall paintings and manuscript illumination. This year at the Courtauld she is teaching a Graduate Diploma course entitled Patronage, Making and Meaning: the Gothic Image in England, 1200-1530.
Heather Norris Nicholson
Heather Norris Nicholson is The Andrew W Mellon Foundation Visiting Professor for 2013-14. She is Senior Research Fellow at the Centre for Visual and Oral History Research, University of Huddersfield. Her current interdisciplinary research focuses on issues of visual memory, identity, belonging and historical change within amateur visual culture, as developed in Amateur Films. Meaning and Practice 1927-1977 (Manchester University Press, 2012). Her interests in how social access to recreational filmmaking gradually widened explores aspects of family life, everyday and working lives, local and regional identity, leisure time and overseas travel. Wider interests explore issues of archival access, changing patterns of personal record making and also the visual politics of cultural representation as seen in earlier film-related writings on indigenous filmmaking and changing filmic identities, include Screening Culture: Meaning and Identity (ed.) (Lexington, 2003). She is part of the Oral History Journal’s editorial group, is fervently committed to bringing amateur film to wider audiences and is currently co-writing a book on Britain's pioneering twentieth century women amateur filmmakers.
Greg Salter is Visiting Lecturer at the Courtauld Institute of Art on the MA course, Modernism in Britain, 1890-1970. Alongside this, he is currently Post-Doctoral Researcher at the Geffrye Museum, London, working on their Documenting Homes Collection. He completed a PhD at the University of East Anglia in 2013, titled 'Domesticity and Masculinity in 1950s British Painting'.
Lisa Tickner is an Honorary Professor at The Courtauld. Her current research interests include the London art world in the 1960s, British art c.1880-1980, and contemporary women artists.
For more information, see her profile page.
SHOPHIE VON HAHN
Anne M. Wagner is an art historian, critic, and teacher who writes on a range of topics in 19th, 20th, and 21st century art, particularly sculpture. Among her recently published essays are studies of Anthony McCall’s 1970s drawings, Haegue Yang’s objects and installations, and the uncanny vitality of Rosemarie Trockel’s recent works. Her writing has appeared in such journals as Artforum, Representations, October, and The Threepenny Review.
Her books include Jean-Baptiste Carpeaux: Sculptor of the Second Empire, which was published in 1986; Three Artists (Three Women), which appeared in 1996; and Mother Stone: The Vitality of Modern British Sculpture, which came out in 2005. A House Divided: On Recent American Art appeared in 2012.
Anne M. Wagner is Class of 1936 Chair Emerita in the Department of History of Art at the University of California, Berkeley, and Visiting Distinguished Professor at the University of York. During Fall 2012, she was Mellon Residential Fellow in Arts Practice and Scholarship at the Richard and Mary L. Gray Center for the Arts and Inquiry at the University of Chicago. In 2010-11, she held the post of Henry Moore Foundation Research Curator at Tate Britain. In summer 2012, the museum staged an exhibition, Lowry and the Painting of Modern Life, which she curated with T. J. Clark. The book accompanying the show was included on the list of best art books of 2013 compiled by the Financial Times.
Giles Waterfield is an independent curator and writer, Associate Scholar at The Courtauld Institute of Art and Director of Royal Collection Studies. He taught The Courtauld's M.A. in the History and Theory of The Art Museum, and has worked as Head of Education at the Royal Pavilion, Art Gallery and Museums and as Director of Dulwich Picture Gallery from 1979 to 1996. He was joint curator of the exhibition Art Treasures of England at the Royal Academy of Arts in 1998, In Celebration: The Art of the Country House at the Tate Gallery in 1998 and Below Stairs, National Portrait Galleries, London and Edinburgh, in 2003-4. He is an authority on the history of museums and his publications include: Palaces of Art, Art for the People and Soane and Death, as well as three novels. He is a member of the Advisory Committee of the Paul Mellon Centre for Studies in British Art, a Vice-President of NADFAS and Trustee of Charleston, Sussex.
Ursula Weekes was formerly Supervisor of the Print Room at the Ashmolean Museum, Oxford. She gained her PhD in 2002 from the Courtauld Institute of Art (published as 'Early Engravers and their Public' by Brepols/Harvey Miller, 2004). From 2004 to 2010 she was based in Delhi as a Postdoctoral Commonwealth Fellow at the Indira Gandhi National Centre for Arts, and she also taught on Mughal and Renaissance art for the School of Arts and Aesthetics at Jawaharlal Nehru University. She is now in London, completing her book on 'The Great Mughals and the Art of Europe'. Last year she taught a new BA Special Option course for the Courtauld on "Mughal Painting c.1550-1748".
Iris Wien is the Marie Curie Fellow of the Gerda Henkel Foundation. After studies in Architecture and Urban planning at the Technical University Stuttgart Iris studied Art history, Philosophy and Sociology in Bonn, Bochum and Berlin. She received her PhD from the Freie Universität Berlin with a dissertation entitled Joshua Reynolds: Mythos und Metapher (Munich: Wilhelm Fink Verlag, 2009). She was predoctoral fellow of the Studienstiftung des Deutschen Volkes. Her work was also supported by research grants from the Freie Universität Berlin and the DAAD Bonn. From 2006 to 2012 she held a position as Assistant Professor at the Art Historical Department of the Johann Wolfgang Goethe Universität Frankfurt. She has published on British Art of the eighteenth and nineteenth century as well as on contemporary art and photography. Methodological issues of interpretation as addressed in „Ein Pop-Künstler als Medusa? Begegnung mit zwei Selbstbildnissen von Andy Warhol“, in: Wiener Jahrbuch für Kunstgeschichte, Bd. 59 (2011) are a special interest of her research. While at the Courtauld she is working on her project “The Elements of Drawing: Reflections on the status of graphic marks in visual theory in 19th-century England”.
For the academic session 2013-14, Rachel Worth is contributing to Dr Rebecca Arnold’s course, ‘MA Documenting Fashion: Modernity, Film and Image in Europe and America, 1920-1945’. She is Professor of History of Dress and Fashion (since 2008) at the Arts University Bournemouth where she is also Assistant Director of Research. On completion of her BA (Hons) degree (History, Newnham College, University of Cambridge), PGCE (University of Bristol) and MA (History of Dress, Courtauld Institute of Art), she spent a short time in fashion retail, successfully completing the Marks & Spencer Graduate Management Training. She joined the Arts University Bournemouth in 1999 as course leader, BA (Hons) Fashion Studies, responsible for a new degree in the history, theory and practice of fashion. At the same time, she completed her PhD (2002, Courtauld Institute of Art). In 2008-9, Rachel was awarded a TQEF industry secondment at New Look Retailers towards research into sustainable and ethical retail practice. Rachel’s research interests include the history of dress and textiles from the eighteenth century to the present, with a particular emphasis on the history of working-class dress and the retailing of fashion. Recent publications interrogate a variety of visual and literary sources for exploration of how the study of clothing can inform our understanding of past and present societies, both from the point of view of how dress is produced and consumed, as well as from the perspective of how it is understood in relation to discourses of representation and for the elucidation of broader cultural contexts and motifs. Current research is concerned with the relationship between the history of dress and social class.
Catherine Yvard completed a degree in sociology and political science in France before turning to art history at Trinity College, Dublin where she completed a PhD in 2005, focusing on a late 15th-century French book of hours (Dublin, Chester Beatty Library, ms. 89) and including a hitherto-unpublished Catalogue of Manuscript Books of Hours in Irish Public Libraries. She has worked on digitisation projects at the Chester Beatty Library in Dublin, the Bodleian Library in Oxford and the British Library in London, cataloguing medieval illuminated manuscripts. She currently teaches courses on illuminated manuscripts in the Middle Ages at Morley College, London, and has taught on this topic at Trinity College Dublin, University College Dublin and at the Courtauld Institute of Art (Summer School).
She specialises in the study of late-medieval Books of Hours and is particularly interested in the transition from manuscript to printed, and the transmission of patterns through time and space. She is now also turning her attention to ivories, as she has been seeing quite a few lately.