- 8 October 2021
- 12:00 – 2:00 pm
- An event as part of the multi-part conference programme 'Cutting Edge: Collage in Britain, 1945 to Now'
12.00–12.05 Welcome by Elena Crippa (Curator, Modern and Contemporary British Art, Tate)
Chaired by Catherine Grant (Senior Lecturer in the Art and Visual Cultures Departments, Goldsmiths, University of London)
12.05–12.20 Amy Tobin (Lecturer in the Department of History of Art, University of Cambridge), ‘I Can’t Swim I Have Nightmares’: Linder and Photomontage 1976–2019’
12.20–12.35 Alice Correia (Research Curator, Touchstones, Rochdale), ‘Chila Kumari Burman: Punk Punjabi Protests’
12.35–12.50 Panel 3 discussion & questions
Chaired by Elizabeth Robles (Lecturer in the History of Art Department, University of Bristol)
13.00–13.15 Allison Thompson (Division of Fine Arts, Barbados Community College), ‘Come Together: Collage Aesthetics in the Work of Sonia Boyce’
13.15 –13.30 Chandra Frank (Post-Doctoral Fellow, Taft Research Center, University of Cincinnati) 'Fragmentations and Glimmers: Archival Experimentations with Collage'
13.30–13.45 Panel 4 discussion & questions
13.45–14.00 Multi-panel discussion
About the speakers
Catherine Grant is Senior Lecturer in the Art and Visual Cultures Departments at Goldsmiths, University of London. She is currently researching the legacies of feminist histories in contemporary art. The project includes the essays Fans of Feminism: Re-writing Histories of Second-wave Feminism (2011) and A Letter Sent, Waiting to be Received: Queer Correspondence, Feminism and Black British Art (2019). She is the co-editor of Fandom as Methodology with Kate Random Love (2019), as well as the collections Girls! Girls! Girls! (2011) and Creative Writing and Art History (2012). She co-edited the questionnaire 'Decolonising Art History’ with Dorothy Price, for Art History, February 2020.
Amy Tobin is a Lecturer in the Department of History of Art, University of Cambridge and Curator, Contemporary Programmes at Kettle's Yard. She has published her research in Tate Papers, MIRAJ, Women: A Cultural Review and Feminist Review, along with books chapters in numerous edited books. She is the co-editor of London Art Worlds: Mobile, Contingent and Ephemeral Networks 1960–1980 (Penn State University Press, 2018) with Jo Applin and Catherine Spencer and The Art of Feminism (Chronicle and Tate, 2018) with Lucy Gosling, Helena Reckitt and Hilary Robinson. For more information on publications see: https://www.hoart.cam.ac.uk/people/dr-amy-tobin. In 2019, Tobin organised exhibitions of Louise Bourgeois, Julie Mehretu and Rose Garrard, followed by a retrospective of Linder Sterling in 2020, she is currently working on exhibitions of the work of Sutapa Biswas (autumn 2021), Howardena Pindell (summer 2022) and Li Yuan-chia and the LYC Art Centre with Hammad Nasar and Sarah Victoria Turner (winter 2022–3) all at Kettle's Yard. In 2019–20 Tobin was the Terra-PMC Fellow, in 2021–2 she has a Leverhulme Research Fellowship to work on a new project on art and feminist sisterhood.
Alice Correia is an art historian. Her research examines late twentieth-century British art, with a specific focus on artists of African, Caribbean, and South Asian heritage. She is currently Research Curator at Touchstones Rochdale, and has previously worked at Tate Britain, Government Art Collection and the universities of Sussex and Salford. In 2017 she was a mid-career Fellow at the Paul Mellon Centre for the Study of British Art, where she initiated her on-going research project, Articulating British Asian Art Histories. She is currently working on a monograph provisionally titled, South Asian Women Artists in Britain, and her articles have appeared in Art History; British Art Studies; Journal of British Visual Culture; and Nka: Journal of Contemporary African Art. She is Chair of Trustees of the journal Third Text.
Elizabeth Robles is a researcher and lecturer in contemporary art in the History of Art Department at the University of Bristol. She is particularly interested in the formation of ideas around ‘black art’ across the twentieth century and is currently a British Academy postdoctoral fellow working on a project entitled Making Waves: Black Artists & ‘Black Art’ in Britain from 1962–1982. Most recently she co-edited the exhibition publication The Place is Here: The Work of Black Artists in 1980s Britain (Sternberg, 2019) alongside curator Nick Aikens. She also co-leads the British Art Network Black British Artists Research Group.
Chandra Frank is a feminist researcher who works on the intersections of archives, waterways, gender, sexuality and race. Her curatorial practice explores the politics of care, experimental forms of narration, and the colonial grammar embedded within display and exhibition arrangements. Chandra holds a PhD from the Department of Media, Communications, and Cultural Studies with an emphasis on queer and feminist studies, from Goldsmiths, University of London. She has published in peer-reviewed journals and exhibition catalogues, including Feminist Review, the Small Axe VLOSA catalogue, The Place is Here publication and the collection Tongues. She recently co-edited a special issue on archives for Feminist Review. Chandra’s dissertation and book project looks at the everyday experiences of the transnational feminist and queer Black, Migrant and Refugee Movement in the Netherlands during the 1980s and the role of the archive therein. Currently, Chandra is a Postdoctoral Fellow at the Charles Phelps Taft Research Center at the University of Cincinnati.
Allison Thompson is an art historian and curator living in Barbados. She teaches in the Division of Fine Arts at the Barbados Community College and is co-director with Ewan Atkinson of PUNCH Creative Arena, an initiative for creative action. Thompson has worked with a number of cultural organizations including the Barbados National Art Gallery Board, the Black Diaspora Visual Arts Project, ICOM Barbados, and is the president of AICA Southern Caribbean. She co-authored Art in Barbados: What Kind of Mirror Image and co-edited Curating in the Caribbean.
05 Oct 2021
Collage Dreamings and Collage Hauntings: Cutting Edge
06 Oct 2021
Cuts, Copies, Clips and the Curatorial: Cutting Edge
07 Oct 2021
Collage as Method, Manuscript and Moving Image: Cutting Edge
13 Oct 2021
Cutting Edge: Workshops on Collage, Day 1
14 Oct 2021
Cutting Edge: Workshops on Collage, Day 2