Edwin CoomasaruResearch Forum Administrative Assistant; PhD student
Contested Bodies: Gender, Sexuality and the Legacies of the ‘Troubles’ in Visual Culture
Supervised by Prof. Mignon Nixon
Funded by CHASE/AHRC Doctoral Training Partnership
My research is a feminist-pacifist-queer studies analysis of recent artistic representations of the Northern Irish ‘Troubles’ (1969-98), including work by Steve McQueen, Maeve Murphy, Malcolm Craig Gilbert, Willie Doherty, Ursula Burke, Stuart Griffiths, Mariah Garnett, Mary McIntyre and Rita Duffy. The project considers how hegemonic constructions of gender were propagated by Republican, Loyalist and British forces at the beginning of the conflict in order to cultivate a militaristic climate: notions of soldierly self-sacrificial men, defenders of their (female) nation and its women, whose domestic-bound duty involved mothering future fighters. My work examines how such conservative ideals were shattered by the very consequences of the conflict: men suffered trauma and bodily damage, women became activists and paramilitaries. My study questions whether these shifts in gendered norms contributed to bringing the ‘Troubles’ to an end, and what this might mean for thinking about the relationship between masculinity and war.
- PhD Candidate, The Courtauld Institute of Art (2014-present)
- History of Art MA, University College London (2012-13, Distinction)
- Dissertation on the representation of Northern Irish masculinities in Steve McQueen’s Hunger (2008).
- English and Art History BA, University of Sussex (2009-12, First Class Honours, Art History Prize)
- Dissertation on Irish masculinity between 1916-39 in the work of Seán Keating, Sean O’Faolain and Flann O’Brien.
- MA Core Methodology Course (Autumn 2017), The Courtauld Institute of Art.
- MA Core Methodology Course (Autumn 2015), The Courtauld Institute of Art.
- Art and Politics, 1979-Present (Autumn 2015), University of Sussex.
- Art after 1945 (Autumn 2015), University of Sussex.
- Northern Ireland
- Queer studies
- Contemporary art
Other academic activity
- Adobe InDesign training, Media Training Ltd (2018)
- Admin Assistant, The Sackler Research Forum (2017-present)
- Co-founder, Gender, Sexuality and Violence Research Network (2016-present)
- Curatorial Placement, Ulster Museum (2016)
- Oral History training, British Library (2015)
- Public Speaking training, City Academy (2015)
- Student Advisory Group, CHASE (2014-2015)
- Curatorial Trainee, Brighton Photo Fringe (2014)
- Director, International New Media Gallery (2012-present)
- ‘Uncontrollable Intimacies: Masculinity, Masturbation and Martyrdom in Steve McQueen’s Hunger’, The Irish Review, Volume 54, Number 1 (forthcoming).
- ‘Is the London fatberg a metaphor for Brexit?’, The Irish Times (Published 18/4/2018).
- ‘Performing Sexuality and Sectarianism: Mariah Garnett’s Other & Father (2015)’, Photoworks Annual, Issue 24 (2017), pp.72-83.
- ‘Queer Life and Kinship: Anthony Luvera’s Let Us Eat Cake (2017)’, in Anthony Luvera ed., Let Us Eat Cake (Belfast: Belfast Exposed, 2017), pp.23-27.
- ‘What can art tell us about gender and the 2017 general election?’, Art UK (Published 12/07/2017).
- ‘Silent Grace and women’s hands: arming female militancy’, The Irish Times (Published 1/9/2017).
- ‘Northern Irish art: paintings and politics’, Art UK (Published 18/7/2017).
- ‘Seeing Red: Menstrual Protest and Abortion Politics’, Four Nations (Published 6/3/2017).
- ‘From Armed Struggle to Political Struggle: Republican Tradition and Transformation in Northern Ireland’ (book review), Irish Studies Review, Volume 24, Issue 3 (August 2016), pp.373-375.
- ‘Emaciating machismo: masculinity, murals and memorialising hunger strikes’, The Irish Times (Published 5/5/2016).
- ‘Manly Warriors: A Four Nations Approach to the Northern Irish ‘Troubles’’, Four Nations (Published 22/6/2015).
- ‘Is the Museum of London Fatberg a Metaphor for Brexit?’, ResFest, The Courtauld Institute of Art (25/4/2018).
- ‘The Sexual Politics of ‘Peace’: Heterosexuality and Masculinity in Dudi Appleton’s The Most Fertile Man in Ireland (1999)’, Agreement 20, Irish World Heritage Centre, Manchester (7/4/2018).
- ‘Gendering the 2017 UK General Election: Theresa May, Jeremy Corbyn and Digital Culture’, Association for Art History 2018, The Courtauld Institute of Art / King’s College London (5/4/2018).
- ‘Handmaidens to Feminist Fists: Unruly Arms and Maeve Murphy’s Silent Grace (2001)’, Irish Prisons: Perspectives on the History and Representation of Irish Forms of Containment, Crumlin Road Goal, Belfast (27/10/2017).
- ‘The Politics of Semen and the Northern Irish Peace Process: Dudi Appleton’s The Most Fertile Man in Ireland (1999) and Steve McQueen’s Hunger (2008)’, Fluid Physicalities, Birkbeck, University of London (10/3/2017).
- ‘Untameable Beasts: Gendered Representations of Nonhumans and the Northern Irish Peace Process’, Art and the Environment in Britain, 1700 to Today, Rennes 2 University (3/3/2017).
- ‘Containment and Contagion: Re-thinking Trump’s Wall/Wound’, Masculinity in the Time of Trump: A Feminist Response to Wounding and Victimhood, The Courtauld Institute of Art (26/1/2017).
- ‘Uncontrollable Intimacies: Masculinity, Masturbation and the Erotics of Violence in Northern Ireland’, Precarious Subjects, Trinity College Dublin (10/6/2016).
- ”Democratising’ Curating: Speed, Sexuality, Selfies’, 22nd International Symposium on Electronic Art, City University of Hong Kong (18/5/2016).
- ‘Bursting Bodies, Shattering Selves: Northern Irish (Post-)Conflict Masculinities in Steve McQueen’s Hunger (2008)’, Art and Conflict, Wolfson College, University of Oxford (1/5/2015).
- Denise Bowler and Edwin Coomasaru, ‘Are galleries just for girls?’, Museums Journal (May 2016), p.17.
- Matthew Caines, ‘Tech talk: Edwin Coomasaru, director, International New Media Gallery’, The Guardian (Published 23/9/2014).
- Northern Irish Masculinity: Wounds and the Peace Process (shortlisted for the 2017 AHRC Doctoral/Early Career Film Award)
- Co-editor-in-chief, immeditaions, Volume 4, Number 1 (2016)
- Editorial board, immeditaions, Volume 3, Number 4 (2015)