Abigail Harrison Moore
Professor of Art History and Museum Studies
Abigail Harrison Moore is the Head of the School of Fine Art, History of Art and Cultural Studies, and Professor of Art History and Museum Studies at the University of Leeds.
Abigail's research focuses on the art history of the late nineteenth century and early twentieth century, particularly the Arts and Crafts Movement, and her last book, Fraud, Fakery and False Business (2011), considered the social, legal and political dimensions of the art and antiques market in 1920s England. She has more recently been working on an international project on the histories and cultures of energy supply, with collaborators from Canada, Austria, Sweden and the US. In the UK, she is very focused on creative education in schools, has helped develop the curriculum in her subject areas, developed the University's EPQ programme of support and the Discovery Days project, in association with ARTiculation and the Devonshire Educational Trust, and has written widely on the educational challenges for young people from low social and economic groups.
Albert Irvin OBE RA was born in 1922 in London, where he continued to live and work throughout his life. In the early 1940's Irvin attended Northampton School of Art. His studies were interrupted when he was called up, serving as a navigator in the Royal Air Force during the war. After the war ended, he enrolled at Goldsmiths College in London to resume his studies. In 1962, Irvin returned to Goldsmiths where he taught for twenty years. In 1970 he moved into his studio in Stepney Green and continued to work there for the rest of his years.
Irvin has exhibited extensively throughout Europe, the USA and in Australia.
His works are also in many public collections including Tate, Royal Academy and the Victoria and Albert Museum, London; The British Council; Irish Museum of Modern Art, Dublin; Manchester City Art Gallery; Leeds Art Gallery and The Art Gallery of New South Wales in Sydney.
He formed a working relationship with Advanced Graphics in 1979 with a print named Tooley and continued producing prints with them until he died. He joined Gimpel Fils in 1982 and the gallery continues to represent the Estate.
In 1998 Irvin was elected Royal Academician and in 2013 was awarded the OBE in the Queens's Birthday Honours List.
He died on 26^th^ March 2015 in St George's Hospital, London.
Alison Cole is the Editor of The Art Newspaper and an art historian who specialises in the Italian Renaissance and the visual arts. She has written several books on art history and has been an art critic for The Independent *and *The Arts Desk. She has also worked as an Executive Director for some of the UK's leading cultural organisations, including The Art Fund, Southbank Centre and Arts Council England, and now advises on advocacy, arts and museum strategy, and digital initiatives, as well as launching her own cultural education projects. Her books include Italian Renaissance Courts: Art, Pleasure and Power (2016) and Michelangelo The Taddei Tondo (2017).
Ben Street is an art historian, lecturer and educator based in London. He is the author of numerous books on art for general audiences, including "How to Enjoy Art: A Guide for Everyone" (Yale University Press, 2021) and a children's book, "How to be an Art Rebel" (Thames and Hudson, 2021). Ben has worked as an educator and lecturer for many museums, including the National Gallery, Tate and the Royal Academy in London, and MoMA and the Guggenheim Museum in New York.y, arts and museum strategy, and digital initiatives, as well as launching her own cultural education projects. Her books include Italian Renaissance Courts: Art, Pleasure and Power (2016) and Michelangelo The Taddei Tondo (2017).Ashley Bickerton (b. 1959, Barbados, West Indies; lives and works in Bali, Indonesia) was an original member of a group of artists known as Neo-Geo, which emerged in New York during the 1980s. In 1993, he left New York for Bali, Indonesia, where his work took on a distinct tropical exoticism often in sharp contrast to his Neo-Geo work, which was an abstract and geometric exploration of consumerism and industrialisation. However, Bickerton's investigation of materiality remained a consistent thread throughout his practice. Often blurring the boundaries between media, genre, and subject (photography and sculpture; portraiture and landscape; realism and fantasy), he challenges the parameters of art making, calling into question the value and significance of the art object itself.
Brian Clarke, painter and architectural artist, was born in Oldham, Lancashire, in 1953, and is the most celebrated stained glass artist in the world today.
A lifelong exponent of the integration of art and architecture, Clarke's commitment to total art has developed into a Renaissance engagement with multiple media -- from painting, sculpture, ceramics, mosaic, tapestry, jewellery and furniture, to sets for opera, the ballet, and stadia. Practising in secular and sacred spaces, his architectural collaborations include work with Zaha Hadid, Norman Foster, Arata Isozaki, Oscar Niemeyer, I. M. Pei, Future Systems and other leading figures of Modern and contemporary architecture, creating stained glass designs and art installations for hundreds of projects worldwide.
His practice in architectural and autonomous stained glass, often on a monumental scale, has led to successive innovation and invention in the fabrication of the medium and, through the production of leadless stained glass and the creation of sculptural stained glass works made primarily or wholly of lead, he has radically stretched the boundaries of what the medium can do and express.
Major works include the Pyramid of Peace, Kazakhstan; Victoria Quarter Leeds, the largest stained glass roof in Europe; the Hôtel du département des Bouches-du-Rhône (Le Grand Bleu), Marseilles; the Royal Mosque of King Khalid International Airport, Riyadh; the 13th century Cistercian Abbaye de la Fille-Dieu, Romont; Buxton Thermal Baths' Cavendish Arcade; the Al Faisaliyah Center, Riyadh; Pfizer World Headquarters, Manhattan; Beaverbrook Coach House and Spa at Cherkeley Court; the Stamford Cone, Connecticut; and NorteShopping, Rio de Janeiro. Stage sets and designs for theatre include designs for two productions of Wayne Eagling's Rudolf Nureyev-tribute 'The Ruins of Time', with the Dutch National Ballet; Paul McCartney's World Tour (1989-90) and The New World Tour (1993); and a production of the Robert Ward opera 'The Crucible', directed by Hugh Hudson.
Clarke is an Honorary Fellow of the Royal Institute of British Architects; Fellow, Trustee, and Council member of the Winston Churchill Memorial Trust; former Visiting Professor of Architectural Art at the Bartlett School of Architecture, University College London; former trustee and Chairman of the Architecture Foundation; Fellow of the Royal Society of Arts; Honorary Liveryman of the Worshipful Company of Glaziers and Painters of Glass; Hon. Doctor of Law, University of Huddersfield; Doctor of Humane Letters, Virginia Theological Seminary; former member of the Design Review Committee for the Commission of Architecture and the Built Environment (CABE); Governor of the Capital City Academy Trust; Sole Executor and Chairman of the Estate of Francis Bacon; Trustee and Chairman of the Zaha Hadid Foundation.
Director, Foundling Museum
Caro Howell is Director of the Foundling Museum. Previously she was Head of Education & Public Events at the Whitechapel Gallery, London (2005-2011), where she oversaw the construction and programming of major new education spaces and project galleries as part of the Gallery's expansion, including a series of artists' commissions and residencies. She has worked as an independent museum education consultant in the UK and abroad, developing projects that explore issues of advocacy, interpretation and access to the arts. She was ten years at Tate, joining Tate Modern's set-up team in 1997 where she formulated its access and audience development strategy, and developed 'Raw Canvas', London's first peer-led museum programme for 15-23 year olds. She has developed a number of award-winning resources for disabled people including two for Tate: i-Map (2002), the UK's first online art resource for blind and partially sighted people, which received a BAFTA, and i-Map: The Everyday Transformed (2006) which received a Jodi Award.
Caro sits on the Charterhouse Design Advisory Group, was a member of Art on the Underground's Advisory Group (2006-2011) and was a trustee of the experimental theatre company Shunt (1998-2010). She has an MA, History of Art from Birkbeck College, University of London (1994) and a BA, Theatre Studies from Warwick University (1988).
Dr Carol Jacobi is Curator of British Art 1850-1915 at Tate Britain and also publishes and broadcasts on nineteenth and twentieth-century art. She has taught at Birkbeck College, the Courtauld Institute and elsewhere. Carol's research takes a social and cultural perspective and aims to challenge and widen canon, focussing on intersections of the arts, for example, and women artists. She has curated exhibitions on Pre-Raphaelite art, Victorian photography and the major exhibition *Van Gogh and Britain *at Tate. She has written especially about the Pre-Raphaelites, Alberto Giacometti, Isabel Rawsthorne, Francis Bacon and his circle.
Senior Curator, Hayward Gallery
Dr Cliff Lauson is Senior Curator at the Hayward Gallery, Southbank Centre, London. Since arriving as Curator at the Hayward in 2009, he has organised major exhibitions of work by Bridget Riley, Martin Creed, Ernesto Neto, Tracey Emin, and David Shrigley and the critically-acclaimed group exhibitions Light Show and Space Shifters. In addition, he has curated numerous exhibitions of artists in the HENI Project Space, including Dineo Seshee Bopape, Emmanuelle Lainé, Kate Cooper, and Adapt to Survive: Notes from the Future.
Cliff was a 2015-6 Fellow of the Clore Leadership Programme, and undertook the secondment component of his fellowship at Industrial Light & Magic, London. He was previously Assistant Curator at Tate Modern, working on exhibitions such as Frida Kahlo, Mark Rothko, Per Kirkeby, and World as a Stage. Prior to moving to London in 2004, Cliff was Education and Public Programmes Coordinator at the UBC Museum of Anthropology. Cliff currently serves on the British Council Collection Acquisitions Advisory Committee, is a trustee of Film and Video Umbrella, and a fellow of the Royal Society of the Arts. He is also a trained life and executive coach.
Professor Emeritus of the History of Art, University of Oxford
Craig Clunas held the chair of art history at Oxford from 2007 to 2018, the first scholar of Asian art to do so. Much of his work concentrates on the Ming period (1368-1644), with additional interests in the art of 20th century and contemporary China. Before coming to Oxford he worked as a curator at the Victoria and Albert Museum, and taught art history at the University of Sussex and the School of Oriental and African Studies, University of London.
He is the author of Art in China (1997, second edition 2009) in the Oxford History of Art Series, and his other books include Superfluous Things: Material Culture and Social Status in Early Modern China (1991); Fruitful Sites: Garden Culture in Ming Dynasty China (1996); Pictures and Visuality in Early Modern China (1997); Elegant Debts: The Social Art of Wen Zhengming, 1470-1559 (2004); Empire of Great Brightness: Visual and Material Cultures of Ming China, 1368-1644 (2007), based on the 2004 Slade Lectures, and Screen of Kings: Art and Royal Power in Ming China (2013); several of these books have been translated into Chinese, Japanese and Korean. His most recent book, is Chinese Painting and Its Audiences, published by Princeton University Press in 2017 and based on his AW Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, Washington DC, in 2012.
David Batchelor is an artist and writer based in London. He was born in Dundee, Scotland in 1955. He studied Fine Art at Trent Polytechnic, Nottingham (1975-1978), and Cultural Theory at Birmingham University (1978-1980).
David's work comprises three-dimensional structures, photographs, paintings and drawings, and mostly relates to a long-term interest in colour and urbanism. He has exhibited widely in the UK, continental Europe, the Americas and, more recently, the Middle East and Asia. Recent exhibitions include 'Chromatology', Ab-Anbar Gallery, Tehran (2017); 'Reef', Handel Street Projects, London (2016); 'Monochrome Archive 1997-2015', Whitechapel Gallery, London (2015); 'Flatlands', Fruitmarket Gallery, Edinburgh and Spike Island, Bristol (2013-14); 'Light Show' (2013-16), Hayward Gallery, London, MAC Sydney, Sharjah Art Foundation and MAC Santiago; 'Chromophilia: 1995-2010', Paço Imperial, Rio de Janeiro (2010); and 'Color Chart', Museum of Modern Art, New York (2008) and Tate Liverpool (2009)
Chromophobia, Batchelor's book on colour and the fear of colour in the West, was published by Reaktion Books, London (2000), and is now available in eight languages. His most recent book, The Luminous and the Grey (2014), is also published by Reaktion. Colour (2008), an anthology of writings on colour from 1850 to the present, edited by Batchelor, is published by Whitechapel, London and MIT Press, Cambridge, Mass. His book of photographs, Found Monochromes: vol.1, nos.1-250 (2010), is published by Ridinghouse, London; his suite of drawings, The October Colouring-In Book (2015), is published by Common-Editions, London.
Lecturer, The Arts Society
Adam Busiakiewicz is an Art Historian, lutenist and lecturer. After completing his Bachelor's Degree in History at UCL in 2010, he held the position of Head of Historical Interpretation (curator) at Warwick Castle. He left the castle in 2013 after winning a full AHRC studentship to pursue a Master's Degree in Fine and Decorative Art at the Sotheby's Institute of Art, London. He is currently pursuing his doctorate in Art History at Warwick University after winning a CADRE Postgraduate Scholarship in 2017.
In December 2014 he became the youngest Guide Lecturer at the Wallace Collection, where he regularly gives talks, tours and lectures to both public and professional audiences. He has also given lectures at the National Gallery in Trafalgar Square, London, and is organised a series of talks there on the lute in paintings in 2018.
Adam is currently planning a publication on the Grevilles of Warwick Castle, and has had articles published by the British Art Journal, The Sidney Journal and Hispanic Lyra. He was also the editor of the Georgian Group's 80th Anniversary Exhibition catalogue entitled Splendour! Art in Living Craftsmanship (2017).
Lecturer, The Arts Society
Alexandra Epps is an official Guide and Lecturer at Tate Modern, Tate Britain, Guildhall Art Gallery and Pallant House Gallery. She is an Art History Tutor at City Lit Institute and a qualified Guide to the City of London, offering lectures and walks about many aspects of the arts for societies, corporations and private individuals. She is a member of the City of London Guide Lecturers Association, and co-author of the book Lord Mayor's Portraits 1983-2014 (2015). Alexandra's background is in design having practised as a graphic designer running her own design consultancy for many years.
Ashley Bickerton (b. 1959, Barbados, West Indies; lives and works in Bali, Indonesia) was an original member of a group of artists known as Neo-Geo, which emerged in New York during the 1980s. In 1993, he left New York for Bali, Indonesia, where his work took on a distinct tropical exoticism often in sharp contrast to his Neo-Geo work, which was an abstract and geometric exploration of consumerism and industrialisation. However, Bickerton’s investigation of materiality remained a consistent thread throughout his practice. Often blurring the boundaries between media, genre, and subject (photography and sculpture; portraiture and landscape; realism and fantasy), he challenges the parameters of art making, calling into question the value and significance of the art object itself.
Bickerton received his BFA from the California Institute of the Arts in 1982 and continued his education in the independent studies program at the Whitney Museum of American Art, New York. Solo shows of his work have been organized at Newport Street Gallery, London (2017); The FLAG Art Foundation, New York (2017); and Palacete del Embarcadero, Autoridad Portuaria de Santander, Spain (1997).
Curator & Writer
Ben Tufnell (b. 1969) is a curator and writer. He was previously a curator at Tate, Director of Exhibitions at Haunch of Venison, and is currently a Director of Parafin, an independent gallery in London. Tufnell has published widely and his books include Land Art (Tate Publishing, 2006) and Frank Stella: Connections (Hatje Cantz, 2012). In 2013-14 he co-curated the Arts Council Collection touring exhibition Uncommon Ground: Land Art in Britain 1967-79, which travelled to four UK museums. As an independent curator and writer Tufnell has collaborated with many international museums including the National Museums and Galleries of Wales, Cardiff, Scottish National Gallery of Modern Art, Edinburgh, Yorkshire Sculpture Park, Henry Moore Institute, Queensland Art Gallery, South African National Gallery, and MUAC in Mexico City, amongst others. His most recent book is In Land: Writings Around Land Art and Its Legacies (2019).
Assistant Curator, Tate Modern
Carine Harmand is an art curator, currently working as Assistant Curator of International Art at Tate Modern in London. Harmand is a trustee of Mimosa House, London, a space dedicated to platforming women and queer artists and focusing on the fluidity of identity. She is on the advisory board of the Santo Domingo Centre for Excellence in Latin American Research at the British Museum, London. Harmand has worked previously in a curatorial capacity in Cameroon, Mozambique and South Africa, and was co-curator of the exhibition I am Ashurbanipal, King of the World, King of Assyria at the British Museum in 2016. She holds an MA in Archaeology and Curatorial Studies from the School of the Louvre, Paris and an MA in Modern and Contemporary Art History and Theory from the University of Essex.
Curator, National Gallery
Caroline Campbell is The Jacob Rothschild Head of the Curatorial Department and Curator of Italian Paintings before 1500 at the National Gallery. Caroline has held curatorial positions at The Courtauld Gallery, London, the National Gallery and the Ashmolean Museum, Oxford. Caroline has curated and co-curated many exhibitions, including 'Bellini and the East' (2005-2006), 'Love and Marriage in Renaissance Florence' (2009); 'Building the Picture: Architecture in Italian Renaissance Painting' (2014) and 'Duccio/Caro: In Dialogue' (2015). She is curating the 'Mantegna and Bellini' exhibition that opens at the National Gallery in the autumn of 2018.
Cassius Ashcroft and Femi Themen
Cassius Ashcroft (Articulation 2021 London Finalist): Cassius took part at the online event hosted by The Lightbox and went through to the London Final hosted by Clare College, Cambridge. He spoke on Andy Goldsworthy and represented Ibstock School and is currently studying Fine Art, History of Art, and Government and Politics for his A Levels.
Femi Themen (Articulation 2021 Grand Finalist): Femi delivered her presentation on Kwame Akoto-Bamfo's Faux Reedom at one of the first ever online Regional Finals hosted by Herbert Art Gallery & Museum, going on to the Grand Final hosted -- also online -- by the National Gallery. Femi represented King Edward VI Camp Hill School for Girls and is currently in her last year of sixth form and will do an Art and Design Foundation course at Central Saint Martins starting in the autumn term 2021.
Imbued with an appearance of scientific rationality, Conrad Shawcross' sculptures explore subjects that lie on the borders of geometry and philosophy, physics and metaphysics. Inspired by different technologies, the artist's structures may retain in appearance the authority of machines -- yet, they remain enigmatic, filled with paradox and wonder. Some have an absurdist melancholy feel, while others tend to the sublime, substituting the purely functional for phenomenological experience.
Shawcross has paid tribute to some of the great scientific pioneers, analysts, and moments from the past. Paradigm (Ode to the Difference Engine), 2006 references the life of Charles Babbage; Space Trumpet, 2007 is inspired by the history of early acoustic mapping; while Slow Arc Inside a Cube, 2008 takes its inspiration from the scientist Dorothy Hodgkin's discovery of the structure of pig insulin. More recently, Shawcross has developed the scale of his practice, taking on architectural and public space with work that combines epic scope and poetic grace. Timepiece, 2013, *a major commission originally conceived for the Roundhouse in London, saw the artist transform the iconic main space of this historic London building into a vast timekeeping device. Made in homage to Ada Lovelace, *The Ada Project, is an ongoing series of musical commissions between Shawcross and leading contemporary composers, which was conceived for the Palais de Tokyo, Paris (2013) and has since travelled to venues in Tasmania, London, Hong Kong and Denmark.
An evolution of Shawcross' practice has seen the development of static works that contain both an internal dynamic and an idea movement. Three Perpetual Chords, 2015, a series of knot-like permanent sculptures commissioned for Dulwich Park following a commission by Southwark Council advised by the Contemporary Art Society to replace works by Barbara Hepworth that were stolen in 2011, draws from the artist's ongoing study of harmonic ratios. *The Dappled Light of the Sun, *2015, first installed in the Annenberg Courtyard of the Royal Academy of Arts, London, is an immersive work comprising five branching cloud-like forms made up of thousands of tetrahedrons. Part of Shawcross' ongoing explorations of the four-sided tetrahedron as a tessellating form, *Paradigm, *2016, a permanent installation which marked the inauguration of The Francis Crick Institute in King's Cross, is currently one of the tallest public sculptures in central London.
Unveiled in Autumn 2016, The Optic Cloak, a major architectural intervention for the Greenwich Peninsula low carbon Energy Centre, is a synthesis of engineering and optical research that draws on subjects including maritime camouflage, Cubism and Op Art. In June 2017, the Royal Academy of Arts and St Pancras International unveiled the major site-specific installation, *The Interpretation of Movement (a 9:8 in blue). *Shawcross' most ambitious mechanical work to date, it stretches out to a 16m diameter as it turns above the station concourse. The 'optic sails', which expand and contract in an orbit from the centre, formed a complex and mesmerising pattern of interference.
Shawcross was born in 1977 in London, where he currently lives and works.
Damien Hirst was born in 1965 in Bristol and grew up in Leeds. He studied Fine Art at Goldsmiths college from 1986 to 1989, and whilst in his second year, he conceived and curated the group exhibition, 'Freeze'. The show is commonly acknowledged to have been the launching point not only for Hirst, but for a generation of British artists.
Since the late 1980s, Hirst has used a varied practice of installation, sculpture, painting and drawing to explore the complex relationships between art, beauty, religion, science, life and death. Through work that includes the iconic shark in formaldehyde, The Physical Impossibility of Death in the Mind of Someone Living (1991) and For the Love of God (2007), a platinum cast of a skull set with 8,601 flawless pavé-set diamonds, he investigates and challenges contemporary belief systems, and dissects the uncertainties at the heart of human experience. In April 2017, he presented his most complex project to date, 'Treasures from the Wreck of the Unbelievable', across two museum spaces in Venice. Hirst lives and works in London and Gloucester.
Since 1987, over 90 solo Damien Hirst exhibitions have taken place worldwide, and he has been included in over 300 group shows. In 2012, Tate Modern, London presented a major retrospective survey of Hirst's work in conjunction with the 2012 Cultural Olympiad. Hirst's other solo exhibitions include Qatar Museums Authority, ALRIWAQ Doha (2013-2014); Palazzo Vecchio, Florence (2010); Oceanographic Museum, Monaco (2010); Rijksmuseum, Amsterdam (2008); Astrup Fearnley Museet für Moderne Kunst, Oslo (2005); Museo Archeologico Nazionale, Naples (2004); Palazzo Grassi and Punta della Dogana, Pinault Collection, Venice (2017), amongst others. His work features in major collections including Tate Collection; Museum of Modern Art, New York; Fondazione Prada; Astrup Fearnley Museum and the Broad Art Foundation. He was awarded the Turner Prize in 1995.