Speakers

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.

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.

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 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.

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.