Thesis: Meetings, Missives, and Moving Mountains: Gorgona in Yugoslavia and Beyond
Supervisor: Dr. Klara Kemp-Welch
My thesis proposes a monographic study of the proto-conceptual, Zagreb-based art collective called the Gorgona group (active 1959-1966) to develop a framework for the group’s structure as a collective and their context within the artistic networks of post-war Europe. Gorgona was comprised of artists Miljenko Horvat, Marijan Jevšovar, Julije Knifer, Ivan Kožarić, Đuro Seder, Josip Vaništa, and art critics Dimitrije Bašičević (known as Mangelos), Matko Meštrović, and Radoslav Putar. Crossing a wide range of activities including conceptual documents, art criticism, organising exhibitions, performative acts, painting, sculpture, photography, installation, and artist books, the thesis chapters are centred on specific activities that question how the group chose to define itself, how ideas were circulated among members as well as its wider artistic network, what the role of the individual was within the collective, and what impact the members’ time in Gorgona had on their artistic lives after.
2018 – present: PhD Candidate in Art History, Courtauld Institute of Art, London
2012 – 2014: MA in Museum Studies, New York University
2008 – 2011: BA in Anthropology, Magna Cum Laude, University of Oklahoma, Norman, OK, minor in Art History, Member of Phi Beta Kappa Honors Society
- Post-war international art
- Conceptual practices
- Artists’ journals and texts
- Performance studies
- Cold War politics
- Existentialism and humanist Marxism
‘Theory and Methods of Exploring Alternative Cultures. New Approaches’ co-authored with Katalin Cseh-Varga, Ondrej Daniel, Kristóf Nagy, Terje Tomistu, Marko Zubak and Rolf Werenskjold in Creative Dissent: Alternative Cultures during Socialism and Beyond, 1945-1991, edited volume (forthcoming).
‘Artist Interview: Bella Radenović and Chelsea Pierce in Conversation with Slavs and Tatars’ in immediations, no. 17 (London: Courtauld Institute of Art, 2020). Available online.
Günther Förg: A Fragile Beauty, editorial assistance by Chelsea Pierce and Michael Neff. Dallas Museum of Art / Yale University Press, 2018.
‘Linnea Glatt’ in Linnea Glatt: Plot Line, Barry Whistler Gallery, Dallas, 2018.
‘Exhibition and Publication History of the Large Rod Series’ in Counterpoint: Sculpture, Music and Walter De Maria’s Large Rod Series, Dallas Museum of Art / Yale University Press, 2017.
‘Exhibition Chronology’ in Jackson Pollock: Blind Spots, London: Tate Publishing, 2015.
Soft Focus, Curator, Dallas Museum of Art, June 2018 – September 2018
Notes from the center, Curator, Vignette Women’s Art Fair, The Women’s Museum, Fair Park, Dallas, TX, April 5-9, 2017
Primary Research: Sean Cairns, Linnea Glatt & James Sullivan, Curator, St. Paul Place, Dallas, TX, November 5, 2017 – January 14, 2018
Curatorial Assistant for Contemporary Art, Dallas Museum of Art, 2014-2018
“Our Most Learned Society”: Gorgona’s performance of self-management, Creative Dissent: Alternative Cultures during Socialism and Beyond, 1945-1991 conference, Riga, Latvia, October 2020 (forthcoming).
The Gorgonic gaze: Visualising Gorgona’s praxis through a filmic eye, 2nd year PhD colloquium, Courtauld Institute of Art, May 2020.
Teaching Assistant, MA Core Methodologies, autumn term 2019.
Associate Editor, immediations, post-graduate research journal, 2020.
Decolonization reading group, Courtauld Institute of Art, December 2020 – present.
Virtual studio visits, Residency Unlimited, Brooklyn, NY for Young Visual Artists Award program, March 2021.