Research Forum Postdoctoral Fellows
Joost Joustra is the 2017/18 Sackler Research Forum Fellow. His project explores one of the greatest challenges for visual artists – representing the invisible subject. Visual representation of the invisible is a foundational paradox of art and his collaborative research project proposes an investigation of these artistic strategies, across disciplinary, chronological, geographical, and medial boundaries. It aims to bring together a variety of scholars and practitioners to examine the problems and strategies for visualising the invisible, providing answers across these boundaries.
Marie Collier was the 2016/17 Sackler Research Forum Fellow. She organised the international conference Fantasy In Reality: Architecture, Representation, Reproduction.
Irene Noy was the 2015/16 Sackler Research Forum Fellow. She conducted the research project and network ‘What Sense is There in Art? The Politics of (Multisensory) Experiences’. Noy is the author of Emergency Noises: Sound Art and Gender (Oxford: Peter Lang, 2017). It proposes a gendered reading of the unity between the visual and the aural in works from the 1960s to the ‘80s. Her other publications deal with sensory perception in works created in Britain and Germany. She also co-organised events such as the lecture and workshop series The Listening Art Historian (2012-2013), The Noises of Art conference (2013) and Sound Art Curating conference (2014). Noy gained her PhD from the Courtauld (generously funded by the Marie-Louise von Motesiczky Charitable Trust) and completed an M.A. at the University of Bonn.
Jack Hartnell is a specialist in the history of art and visual culture of medieval Europe (c.300–1500) and was the Andrew W. Mellon Research Forum Postdoctoral Fellow at The Courtauld for January to July 2015. His work focuses on the relationship between material culture and science, in particular the influence of medieval medicine on the creation of art and literature. In 2015 he was appointed as Mellon postdoctoral fellow at Columbia University.
Michael Carter was the 2014 Research Forum Postdoctoral Fellow. He gained his PhD from the Courtauld in 2013, and his thesis provided a reinterpretation of the art and architecture of the Cistercians in northern England in the late Middle Ages. In 2014 he was appointed as a Senior Properties Historian at English Heritage.
Meredith A. Brown
Meredith A. Brown was the 2013 Research Forum Postdoctoral Fellow. Meredith holds a BA in studio art and art history from Stanford University (2003) and an MA (2007) and PhD (2012) in art history from The Courtauld. Her doctoral research, supervised by Professor Mignon Nixon, explored the ways in which A.I.R. Gallery, the first women’s cooperative gallery in the United States, used feminist and other activist strategies to become the leading institutional space for women artists in the 1970s. Meredith has taught at The Courtauld, Stanford University, and the Solomon R. Guggenheim Museum; lectured and published widely; and curated exhibitions of contemporary art at the Iris & B. Gerald Cantor Centre for Visual Arts at Stanford and Tiger Strikes Asteroid, a cooperative gallery in Philadelphia. Her research interests include the intersection of feminist politics and pedagogy, representations of labour and bureaucracy, and artistic collaboration in postwar art and art institutions. Her project at the Courtauld examined various aspects of collaboration and collectivity and their influence on both the production of art and the writing of its histories.
Ayla Lepine was the 2012 Research Forum Fellow. Ayla has a BA in History in Art from the University of Victoria (2003), a PGDip in Theology from Oxford University (2004), and both an MA (2005) and PhD (2011) from The Courtauld. Her doctoral research, supervised by Professor Caroline Arscott, explored George Frederick Bodley and Thomas Garner’s architectural commissions for Oxford and Cambridge. Ayla has held Visiting Lecturer positions at King’s College London, the V&A, Warwick University, and The Courtauld. Her publications have appeared in The Architects’ Journal, The Burlington Magazine, Art and Christianity and The Tablet. Her research interests include queer perspectives on nineteenth-century art, the intersections of theology and the arts, monastic and convent art and architecture in modern Britain, and the persistence of the Gothic Revival beyond the nineteenth century. Her project, ‘Revival: Utopia, Memory, Identity’ included a workshop, conference, lecture series and online exhibition. In 2013 she was an Associate Fellow at Yale University’s Institute of Sacred Music.
Jim Harris was the Research Forum Postdoctoral Fellow in 2011. He completed his PhD, Donatello’s Polychromed Sculpture: Case Sudies in Materials and Meaning, at the Courtauld Institute of Art in 2010 under the supervision of Professor Patricia Rubin. He then worked on a series of articles based on the three principal objects of his thesis; Donatello’s Bardi Crucifix, Cavalcanti Annunciation and Padua Entombment. Jim’s research concerned sculptural polychromy as a record of the traumatic events of the English ‘Long Reformation’. He has been a Visiting Lecturer at The Courtauld and has taught at King’s, Birkbeck and the IGRS. He was Caroline Villers Research Fellow in 2011-12 and is now Andrew W Mellon Foundation Teaching Curator of the Ashmolean Museum, Oxford.
Francesco Lucchini was the 2010 Research Forum Fellow. He read Philosophy at the University of Milan, before coming to The Courtauld where he took his MA in Early Sienese Painting (2003) and completed his PhD thesis (2009) ‘Objects at work: A material and cultural history of the reliquaries of St. Anthony of Padua in the Basilica del Santo, ca 1231-1438’. During the course of his fellowship he led the research project The Material Life of Thingsand organised the Frank Davis Memorial lectures for 2010. He has been Visiting Lecturer at the University of Newcastle upon Tyne and at The Courtauld. From 1 April 2011 he held a two year Leverhulme Early Career Fellowship at the Department of History of Art, University of Warwick.
Federico Botana was the 2009 Research Forum Fellow. He completed his PhD at the Courtauld Institute in 2008. His research focuses on the relationship between visual culture and social practices in the Late Middle Ages. He is currently completing a book on the representation of the Corporal and Spiritual Works of Mercy in medieval Italy. His previous publications include: ‘Virtuous and Sinful Uses of Temporal Wealth in the Breviari d’Amor of Matfre Ermengaud,’ Journal of the Warburg and Courtauld Institutes, LXVII (2004); ‘Like the Members of a Body: Assisting the Poor in Matfre Ermengaud’s Breviari d’Amor,’ in Armut und Armenfürsorge in der italienischen Stadkultur zwischen 13. und 16. Jarhunderts, edited by Philine Helas and Gerhard Wolf (Frankfurt, 2006).
Judith Batalion was the 2008 Research Forum Fellow. She completed her PhD, entitled ‘Mad Mothers, Fast Friends, and Twisted Sisters: Women’s Collaborations in the Visual Arts (1970-2000)’ in 2007. Judith’s research interests include creative collaboration, representations of domesticity, feminist performance art, the history of friendship, humour, and the relationships between science and art. At the time of her fellowship, she was editing a collection of writing about comedy audiences.
Catherine Grant was the 2007 Research Forum Fellow. She completed her PhD, entitled Different Girls: performances of adolescence in contemporary photographic portraits at the Courtauld Institute in 2006. Her research interests include the representation of adolescence and femininity in photography, the theorisation of spectatorship and identification in relation to the photographic portrait, and the intersection between queer theory and feminism. Her research as postdoctoral fellow built on her PhD, focusing on the importance of gesture in the photographic portrait, the relationship between the painted and photographic portrait, and the differing depictions of female adolescence from the Victorian period to the present day.
Douglas Brine was the 2006 Research Forum Fellow. In 2007-08, he was Andrew W. Mellon Postdoctoral Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art, Washington DC. He completed his PhD, entitled Piety and Purgatory: wall-mounted memorials from the southern Netherlands, c.1380-c.1520, at the Courtauld Institute in 2006, which he revised for publication during his fellowship in Washington. His research, on Jan van Eyck and his legacy, formed the subject of the graduate seminar he taught at the Johns Hopkins University, Baltimore.
John-Paul Stonard was the first Research Forum Fellow in 2004-5. He is an independent art historian and Contributing Editor of the Burlington Magazine, London. His book, Fault Lines. Art in Germany 1945-55 was published in 2007. He is currently writing a book about the painter Ernst-Wilhelm Nay, and conducting ongoing research into the work of Oskar Schlemmer. He is also currently editing a series of articles, commissioned from leading art historians, re-reviewing major art historical publications of the twentieth century.
Research Forum Postdoctoral Fellowship (Mellon MA)
Anna Marazuela Kim
Anna Marazuela Kim is an art historian and theorist whose wide-ranging research engages our complex relation to images, from Plato to the present digital age, with a focus on iconic presence and iconoclasm. Since 2011, she has been an invited member of several cross-disciplinary Institutes of Advanced Study and research groups, including an AHRC-funded network on Iconoclasms Past and Present. In addition to teaching a new course, Sculpture and the Body in Renaissance Italy, as the 2015-16 Andrew W. Mellon Postdoctoral Fellow at the Research Forum Dr Kim co-organised and presented at a Symposium on Art and Terrorism, followed by a sequel at Kings’ College in conjunction with the exhibition, Traces of War. In Fall 2016, Dr Kim was invited as a Fellow of the Center for Advanced Studies, BildEvidenz: History and Aesthetics, at the Free University, Berlin. She is currently working on a book project titled Reforming the Image: Idols and Iconoclasm in Early Modern Rome.
Sara Beth Levavy
Sara Beth Levavy 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.
Katrin Seyler was the 2012-2013 Research Forum Postdoctoral Fellow (Mellon MA). She received her PhD in History of Art from The University of Birmingham in July 2012. Her AHRC-funded doctoral research explored how early-modern journeymen image-makers acquired and organized knowledge. From this research, the concept of a “Republic of Tools” emerged as a framework for the analysis of non-scholarly traditions of thought which shaped the pan-European artisan community of the seventeenth and eighteenth centuries. As Andrew W. Mellon Research Forum Postdoctoral Fellow for 2013, Katrin developed the idea of the “Republic of Tools” by investigating how it was affected by crises and trauma, such as war, revolution and internal conflicts. At The Courtauld, Katrin was also teaching a second-year course on the evaluation of texts composed by early-modern artists, and supports the Andrew W. Mellon-funded M.A. “Visualising Knowledge in the Early Modern Netherlands”.
Edward Wouk was the 2012 Research Forum Postdoctoral Fellow (Mellon MA). Edward completed his PhD at Harvard University in 2010 with a dissertation on the Flemish painter and draftsman Frans Floris de Vriendt (1519/20-1570) and is currently completing a monograph on the artist and his humanist circle. His catalogue raisonné of Floris’s graphic art appeared in the New Hollstein series in 2011 and was awarded the Wolfgang-Ratjen Prize from the Zentralinstitut für Kunstgeschichte, Munich. After teaching Renaissance art history and theory at the Universität Zürich in 2010-2011, he returned to New York to complete a Chester Dale Fellowship at the Metropolitan Museum of Art. A specialist in northern European art of the sixteenth and seventeenth centuries, his current interests include the historiography of Netherlandish art, print culture and artistic exchange, and the intersection of artistic practice and scientific inquiry in the early modern period.
Monia Abdallah was the 2011-2012 Research Forum Postdoctoral Fellow (Mellon MA). She received her doctorate from the Ecole des Hautes Etudes en Sciences Sociales (EHESS) in Paris in December 2009 with a dissertation entitled ‘Constructing the Continuous Progress of the Past: an inquiry into the notion of ‘Contemporary Islamic Art’ (1970-2009). Before coming to the Courtauld, she was Postdoctoral Fellow in the Department of Near and Middle Eastern Civilizations at the University of Toronto and the Royal Ontario Museum (ROM). Over the course of 2011-12, in addition to pursuing her own research, Dr Abdallah was teaching a BA course and working with Professors Mignon Nixon and Juliet Mitchell on the Research Forum/Mellon Foundation M.A. course: Art And Psychoanalysis: Fifty Years Of War In The Time Of Peace, 1960-2010.
Anthony Gardner was the 2010-11 Research Forum Postdoctoral Fellow (Mellon MA). He received his doctorate from the Centre for Contemporary Art and Politics at the University of New South Wales, Sydney, in 2009. Titled Politically Unbecoming: Critiques of “Democracy” and Postsocialist Art from Europe, this dissertation examined the persistence of alternative and dissident aesthetic politics in Europe from the 1970s to the 2000s, spanning the work of Ilya Kabakov, Christoph Büchel, Gianni Motti, Lia Perjovschi and other artists. His writing has most recently appeared in Third Text, Postcolonial Studies and The Australian and New Zealand Journal of Art, as well as Crossing Cultures (ed. J. Anderson) and the reader for the 2010 SCAPE biennial in Christchurch (ed. B. French). Anthony is currently developing a book-length study of biennialisation with Prof. Charles Green for the publishers Wiley-Blackwell and, with Dr Klara Kemp-Welch, will co-chair a session at the 2011 Association of Art Historians conference on Post-Socialist Prospects and Contemporary Communisms in Art History.
Stephanie Schwartz was the 2009-10 Research Forum Postdoctoral Fellow (Mellon M.A.)Stephanie Schwartz recently completed a two-year term as the Andrew W. Mellon Postdoctoral Fellow in History and Theory of Photography at Bryn Mawr College. She received her doctoral degree from the Department of Art History and Archaeology at Columbia University in 2007. Her dissertation, The Crime of Cuba: Urbanism, Photography, and the Geopolitics of Americanization, which developed an interdisciplinary framework for examining the relationship between modern aesthetic practices and the politics of decolonization, was nominated for a Bancroft Dissertation Award. In addition to writing Cuba Per Diem: Walker Evans and American Photographs, a book-length study of Evans’s 1933 Cuba portfolio, Stephanie is developing a new project on contemporary Cuban photography.
Charlie Miller was the 2008-09 Research Forum Postdoctoral Fellow (Mellon M.A.). Charlie received his PhD from the Courtauld in 2006 for The Ambivalent Eye: Picasso 1925-1933. From 2005 to 2007 he was research fellow at the AHRC Research Centre for Studies of Surrealism and its Legacies, University of Essex. He published three pieces, ‘Apocalypse’, ‘Archaeology’ and ‘Pablo Picasso’, in Ades and Baker, eds., Undercover Surrealism: Georges Bataille and DOCUMENTS (Hayward Gallery and MIT Press, 2006), winner of the Art Newspaper & AXA Art Exhibition Catalogue Award. He is editor of ‘The Use-Value ofDocuments’, a special issue of the Papers of Surrealism (Autumn 2007), to which he has contributed a critical ‘Introduction’, an article entitled ‘Bataille with Picasso: Crucifixion and Apocalypse’, and a translation of an essay by Georges Didi-Huberman. His general research areas are the production and reception of Picasso, and the history and theory of the avant-garde. During his fellowship at the Courtauld, he worked on articles and a book about Picasso and surrealism. A second book project concerns avant-garde (ab)uses of history.
Terra Foundation for American Art Teaching Fellow
Hélène Valance was the Terra Foundation for American Art Postdoctoral Teaching Fellow at the Courtauld in 2014-2015. She received a Ph.D. from the Université Paris 7 Diderot in Paris, and was a fellow at the Cooper Hewitt library in New York in 2010 and at the Smithsonian American Art Museum in Washington in 2007 and in 2011. She lectured at the University of Paris 7 Diderot and at Ghent University.
William McManus was the Terra Foundation for American Art Postdoctoral Fellow 2012-13. He has done graduate studies in art history at Johns Hopkins and Princeton Universities. His dissertation at Princeton deals with the art and films of Andy Warhol (ca. 1961-68). His is the first full length study to take Warhol’s painting, media projects and films together as an organic whole, and to place Warhol’s project within a social and psychoanalytic context of the neoliberal aesthetics that emerged from this moment. Prior to arriving at the Courtauld, McManus taught lecture and seminar courses at Vassar College, Stanford University and the Rhode Island School of Design, both in the departments of art and of media studies and the humanities centres more generally. His current research, loosely titled ‘Inside Postmodernism’ focuses on performance and projected works of the 1970s as they elaborate new models of historical experience. McManus has most recently given public lectures on these subjects at the Freie Universität Berlin, and at The Courtauld. His writing has appeared in the Art Journal and the Brooklyn Rail; an essay on Warhol’s painting and commodity relations is forthcoming in the journal Amerikastudien.
Elisa Schaar was the Terra Foundation for American Art Postdoctoral Fellow 2011-12. She received her BA in Philosophy from Harvard University (2004) and her MSt and DPhil in Art History from Oxford University (2005 and 2010). Before coming to the Courtauld, she was Visiting Lecturer at the University of Warwick in the academic year 2010-11. Ongoing research interests include pop, the European reception of American pop in a Cold War context, pop’s politically-inflected European variants, and the legacy of pop in the 1980s and the present global situation. On the occasion of the ‘Warhol: Headlines Exhibition’, Elisa is co-organizing a Terra Foundation international symposium on ‘American Art and the Mass Media’ that will take place at the Institut national d’histoire de l’art (INHA) in Paris in May 2012. Her article ‘Spinoza in Vegas, Sturtevant Everywhere: A Case of Critical (Re-)Discoveries and Artistic Self-Reinventions’ appeared in Art History in December 2010. Among her publication projects is a fuller study of Sturtevant’s multifaceted practice of repetition. At the Courtauld, Elisa taught a BA third-year course on pop and the contested status of mass culture. A forthcoming Leverhulme research project (Early Career Fellowship) will explore sound and the durational experience in art since the 1960s.
Wendy Ikemoto was the Terra Foundation for American art Teaching Fellow for 2009-11. She completed her PhD in the History of Art and Architecture at Harvard University in Cambridge, Massachusetts in 2009. Her dissertation examined paired, or pendant, painting in the antebellum United States. She is currently working on the book manuscript of her dissertation and developing a study of American art in the Pacific world in the 19th and early-20th centuries. Her article Putting the ‘Rip’ in ‘Rip Van Winkle’: Historical Absence in John Quidor’s Pendant Paintings, was published in the summer 2009 issue of American Art.
Wingate Scholar 2010-2011
Glenn Sujo completed formal studies in fine art and the history of art at the Slade School of Art (Dip FA) and Courtauld Institute of Art (MA, PhD 2010). As a recipient of a Wingate Scholarship he spent the academic year 2010/11 preparing his doctoral thesis on the life and work of Auschwitz survivor Yehuda Bacon, Disseminating Memory: Lines Across an Abyss, for publication. Since the demise of the Cold War and the opening-up of Second World War archives in Central and Eastern Europe, Sujo has undertaken original research into the subject of the ‘Imagination in Internment’ and curated several major exhibitions including:Legacies of Silence: The Visual Arts and Holocaust Memory, Imperial War Museum, London (2001), Artists Witness the Shoah, Graves Art Gallery, Sheffield (1995) and On the Track of Tyranny, Wiener Library, London (1983). As Paul Mellon Research Fellow, Sujo has contributed actively to the recovery of drawing language in art polemics and higher education, through practice-led research, exhibitions of his own work, publications and curatorial assignments including: Drawing on these Shores, A View of British Drawing and its Affinities (Bath and Brighton Festivals). He is a founding member of faculty at the Prince’s Drawing School and convenor of the Drawing Symposium (2003-08) and the mind-spirit-body-matter: drawn to the human workshop at Kettle’s Yard Cambridge (June 2010). A recent study of the sketchbooks and process works of Polish émigré Jankel Adler will form the basis of an extended book and exhibition on the artist (in preparation).
Courtauld Institute Of Art/Centre Allemand d’histoire de L’art/Deutsches Forum für Kunstgeschichte Pre-Doctoral Fellow
Francesca Whitlum-Cooper was the 2012-2013 Courtauld Institute of Art Research Forum/Centre Allemand d’Histoire de l’Art / Deutsches Forum für Kunstgeschichte Predoctoral Fellow. Francesca is a PhD student at the Courtuald working with Katie Scott on a thesis entitled Itinerant Pastellists: Circuits of Movement in Eighteenth-Century Europe which considers the eighteenth-century pastel through the prism of movement.
Hannah Williams was the 2008 Pre-Doctoral Fellow at the Centre Allemand de l’Histoire de l’Art in Paris, where she is researching aspects of eighteenth-century French visual culture. Hannah is a doctoral student at the Courtauld Institute working with Katie Scott on a thesis entitled Self-Portraiture and Representations of the Artist in Eighteenth-Century France. Hannah’s research interests include visual theories of self-representation, issues of subjectivity and inter-subjectivity in portraiture, art and anthropology, and painting and phenomenology. She is Secretary of the Student Members’ Committee of the Association of Art Historians.
Social Sciences and Humanities Research Council of Canada Fellow
Sarah Guérin received her PhD from the University of Toronto in July 2009 for a dissertation entitled ‘Tears of Compunction’: French Gothic Ivories in Devotional Practice. Prior to arriving at the Courtauld, she was a Mellon Postdoctoral Fellow in the Department of Art History and Archaeology at Columbia University, and also held the Hanns Swarzenski and Brigitte Horney Swarzenski Fellowship at the Metropolitan Museum of Art. An expert in medieval ivories and associated with the Gothic Ivories Project, Sarah’s publications have appeared in the Journal of Medieval History and West 86th. While at the Courtauld (2012-13), in addition to teaching courses on medieval art, Sarah was working on a number of projects, including a book manuscript entitled Ivory Palaces: Gothic Sculptures at Church and Court and a catalogue for the Gulbenkian Museum, Lisbon.