- 20 April 2021
- 2:00 – 3:00 pm
This is an event for DRN members only. You can find out more about the network here.
As researchers in educational institutions, who may also engage in teaching work, the question of pedagogy is central to the lives and work of PhD students. The discipline of art history itself has been shaped by a long tradition of critical approaches to visual art and its histories within British universities and arts institutions. In turn, museums continue to play a key role in public education, with the potential to shape wider attitudes towards British and global history. At the same time, the rise of the ‘digital public intellectual,’ and the use of social media as platforms for academic discussions have altered the cultural landscape, presenting new challenges for cultural critique. This roundtable seeks to encourage PhD students to reflect upon their own pedagogical practices, as embedded in their own research, educational background and teaching practices, as well as the ways in which they can shape public discourse and education more broadly.
Within British arts and educational institutions there is a long-overdue need for reflection, change and action. For those of us carrying out doctoral research within these sites for the production of knowledge and power, there is a renewed urgency to our work. This urgency is acutely felt when connected to questions of Britishness, race, disability and class, questions which are inherently relevant for any researcher now working in the context of a global health crisis, the renewed visibility of white supremacy and its manifestation in ‘the culture wars’. These roundtables will seek to engage with the work of researchers and artists who question British art history’s categorisations and narratives to explore the ways in which academic and arts institutions might respond to historic and contemporary injustices.
This series will provide a space for doctoral research students to explore their own subjectivities, positionalities and emotions, in order to rethink how they approach, reproduce and critique structural inequalities in their work. It will demonstrate how centring questions of access, care and pedagogy can transform British art history, its approaches and methods, its subject matter and its narratives.
Zoom webinar guidance
About the speakers
Keisha Bruce (she/they) researches and writes at the intersection of the Black diaspora, art cultures, media, gender, and sexuality. She is completing her PhD in Black Studies at the University of Nottingham and is funded by Midlands3Cities. Her current research project focuses on Black women’s digital visual culture and explores how identity is mediated online, and how diasporic intimacy is curated through processes of visuality and affect. Outside of her research she has worked on projects that relate to race and gender inequality, sovereignty and justice, archival histories, and representation in screen media. You can find out more about her work at www.keishabruce.com, and follow her on Twitter at @keishastweets
Alice Procter is an art historian, writer, and educator. Since 2017, she has run the Uncomfortable Art Tours, unauthorised guided tours of national collections, exploring how major institutions came into being against a backdrop of imperialism. She is the author of The Whole Picture: The Colonial Story of the Art in Our Museums and Why We Need to Talk About It (Cassell, 2020). Her work concentrates on the intersections of postcolonial art practice, the curation of historical trauma, and narratives of national identity.
Ed Webb-Ingall is a filmmaker and researcher working with archival materials and methodologies drawn from community video. He collaborates with groups to explore under-represented historical moments and their relationship to contemporary life, developing modes of self-representation specific to the subject or the experiences of the participants. He is the participation programmer for the London Community Video Archive and Senior Lecturer on the BA Film and Screen Studies course at London College of Communication. He is currently writing a book with the title BFI Screen Stories: The Story of Video Activism.