PROFESSOR JULIET SIMPSON
Professor of Art History, Chair of Visual Arts Research at Faculty of Arts and Humanities, Coventry University.
Professor Simpson is an internationally-recognised expert in research and scholarship in European art, visual culture and art criticism of the nineteenth and twentieth centuries. As well as her publications in this field, she has collaborated with world-leading universities, museums and galleries, including with the Ashmolean Museum, Oxford, Musée d’Orsay, Paris, Ateneum Art Gallery and Museum, Helsinki, National Galleries of Scotland, Edinburgh and The National Gallery, London. Current collaborations include with The National Gallery, London and an international network of scholars and curators for a publication and related symposia on ‘Art and Northern European Identities from the 1860s to the 1930s’. Professor Simpson is a Fellow of the Royal Society of Arts and Academic Art History Consultant for Compton Verney Museum, Warwickshire, UK.
- Simpson, J. (2014) ‘Science, Belief and the Art of Subjectivity: From Fromentin’s to Huysmans’s “Primitive” Moderns’. in Between Light and Darkness: New Perspectives in European Symbolism Research. Ed. by Lahelma, M. Helsinki: The Birch and the Star, 16-25.
- Simpson, J. (2013) ‘Bourget’s Oxford Aesthetes: Towards Decadent Cosmopolitanism’. Comparative Critical Studies 10 (2), 183-95.
PROFESSOR JILL JOURNEAUX
Professor of Fine Art Education and Research Degree Leader at Faculty of Arts and Humanities, Coventry University.
Jill Journeaux is Professor of Fine Art Education and Research Degree Leader at Coventry School of Art & Design, Coventry University. She is an artist and researcher with particular interests in the representation of physical, emotional and psychological realities through autobiographical narrative. Her key interests are the female body as an experience of inhabitation, the crafts and artifacts of domesticity as content and process for fine art practice, and notions of beauty. She realizes her practice through drawing and stitching, examining the space between art and craft, and the relationships between the decorative and the domestic. Her research considers the evolving nature of the fine art, the teaching of creativity and the shifting place of fine art within the academy. She is an external Director of TRACEY, and convened Drawing Conversations; an international one–day symposium accompanied by an exhibition entitled Drawn Conversations, which examined the nature and characteristics of a range of drawing processes that are enacted through collaboration and collective imaging.
- Journeaux, J. , Montero, P. and Mottram, J. (2015) ‘Comparative study of higher education fine art in UK and Spain: before and after Bologna’. Presented at: ’10th International Conference on the Arts in Society’, held 22-24 July 2015, Imperial College London, UK.
- Journeaux, J. (2015) Ed. 25 Years of the Group for Learning in Art & Design (GLAD) The Journal of Art Design and Communications in Higher Education, Volume 14 Number 2, Intellect, Bristol, UK.
- Journeaux, J. and Mottram, J. (2015) ‘Creativity and art education: gaps between theories and practices‘ in G.E. Corazza and S. Agnoli (Eds). Multidisciplinary Contributions to the Science of Creative Thinking (pp: 281-299). Springer, USA.
- Journeaux, J. (2014) Talking with Other Women, conference paper, The 5th International Conference of the Image, Berlin.
- Journeaux, J. (2014)Ed. The Art Schools; questioning the studio, guest editor of special edition of Journal for Visual Arts Practice, Routledge.
- Journeaux, J. and Burns, J. (2013) ‘The Body Redrawn’ published in TRACEY, The Journal of Visualisation and Drawing Research.
DR ANDREA HANNON
Research Assistant for Visual Art and Art History in the Faculty of Arts and Humanities at Coventry University.
Dr Hannon is an artist and researcher who explores cyclical strategies of response, reflection and reflexivity that inform psychological and physical acts of deconstructive and reconstructive intervention in work that is process led. With an interest in the perpetuation of existing roles and representations of woman and what it means to recognize the gendering of the self, her practice deals with the histories of being woman and focuses upon exploring narratives existing in established discourse that perpetuate the universal formulas of understanding.
Her recent exhibitions include, The House is Still Named After Him (2016), Wolverhampton Art Gallery, Coventry Drawing Prize (2016), New Art West Midlands (2015) The Herbert Art Gallery Coventry, and SALON (2015), The Waterhall Gallery, BAGM, Birmingham. She was selected prizewinner for NAWM 2015 and Coventry Drawing Prize 2015, and selected artist for the Kraken creativity award in 2005. She is an active member of The National Association for Fine Art Education NAFAE and reviewer for The journal of Visual Arts Practice (JVAP), she also sits as Co-Director of artists led organisationHA.
- ‘Fleeting Occupations: The ‘Studio’ as an extension of psychological inhabitation’, (2014) Journal of Visual Arts Practice, Volume 13.1, Routledge
- ‘The house is still named after him’: Exploring the subjective tensions of the female artist inhabiting cultural discourses’, Arts & Humanities in Higher Education Journal (2014) Vol. 13, Sage.
RACHELLE VAIDER KNOWLES
Senior Lecturer, Course Director: Fine Arts. Faculty of Arts and Humanities, Coventry University
Rachelle Vaider Knowles is an artist, educator and researcher. Her most recent works explore text and language, translocality, dialogue as art, and artistic practices/methods developed through participation, collaboration and networks. Her works have been performed, screened, found, played or encountered in numerous international venues including: Conflux, and the Experimental Text Festivals in New York; Three Walls Gallery in Chicago; Residencia Corazon Gallery in La Plata, Argentina; Chapter Gallery in Cardiff, Wales; the Kwangju Biennale in South Korea; the Berlin International Film Festival; the Gyumri Biennale in Armenia; and the Can Gelabert Cultural Centre in Mallorca. In 2007 she was a finalist for the Sobey Art Award, Canada’s contemporary art prize, and in 2008 she was the selected recipient of the Canada Council Paris Studio award. She is an active member of the international advisory board for the Armenian Art Centre of Social Studies based in Yerevan, Armenia.
Previous to her current role at Coventry University, Rachelle served as Head of Visual Arts at the University of Regina in Saskatchewan, Canada from 2010 – 2014. She holds an MFA in Visual Arts from the University of Windsor in Ontario Canada, and a BA (Hons) in Interactive Arts from the University of Wales. She is currently undertaking a practice-led PhD on the topic of translocal approaches to dialogue-based art.
- Knowles, R.V., Hay, K., Tonoyan, M., and Vidal, M. (2014) MTM News: Veins, the Catalan Edition. Community newspaper launched at the Supermarkt Alternative Art Fair
- Knowles, R.V. (2014) Berlin Project ‘Intermezzo II’. MilaKunst Gallery, Berlin, Germany
- Knowles, R.V. (2013) The Synthetic Age. University of Regina Faculty Exhibition. MacKenzie Art Gallery, Regina. Curated by Jeff Nye.
DR IMOGEN RACZ
Dr Imogen Racz is Senior Lecturer in the History of Art. She is Contextual Studies Co-ordinator, module leader and lecturer across undergraduate and MA levels, and PhD supervisor with six completions.
Her recent book Art and the Home: Comfort, Alienation and the Everyday is a thematic investigation into how post-war British, American and European artists interpreted the abstract concepts that we have about the home, including enclosure, alienation, sentiment, female space, and the unmade house. Her current research has focused on Helen Chadwick, placing her work of the 1980s into its artistic, theoretical and social contexts. This forms part of a larger, ongoing exploration of 1980s sculptural practices in Britain, especially that of women artists.
Imogen Racz has served as external panel member for validation events, is external examiner at Wolverhampton University and has examined a number of PhDs.
- Racz. I. (2017) ‘Sculptural Vessels across the Great Divide: Tony Cragg’s Laibe and the Metaphors of Clay‘. In The Ceramics Reader. Ed. by Petrie, K., and Livingstone, A. Bloomsbury Academic,
Racz, I. (2016) ‘Helen Chadwick’s Of Mutability: Process and Postmodernism’. Journal of Visual Art Practice.
The Unheimlich and Consciousness in Art (2016) [podcast] Freud Museum London: Psychoanalysis Podcasts [19 July 2016]
Racz, I. (2015) Craft and the Creative Economy, Susan Luckman. Reviewed in Journal of Modern Craft
Clari Searle is a teacher and researcher of linguistics at Coventry University within the Faculty of Arts and Humanities. She currently working on a PhD in Comics Stylistics, with a particular interest in the creation of autobiographical graphic novels and political cartoons and animation.
PROFESSOR NEIL FORBES
Neil Forbes is Professor of International History and Associate Dean of Research at Coventry University, UK.
Neil’s research interests and publications lie in the fields of cultural heritage (conflict, contested landscapes and the memorialisation of war), the interaction of foreign policy formulation with the practices of multinational enterprise during the interwar years, the processes of financial stabilisation after the First World War, and Anglo-American relations and the rise of the Third Reich. He has played a leading role in several research projects, including a £1m digitisation and creative archiving project in association with the UK’s BT and The National Archives, and is Co-ordinator of the EU’s FP7 RICHES project – Renewal, Innovation and Change: Heritage and European Society. He is a member of several professional associations and other bodies, such as the Peer Review College of the Arts & Humanities Research Council, and is chair of the UK’s Research and Enterprise Network for Universities.
- Forbes, N, Borowiecki, K. Jan, and Fresa, A. (eds.) (2016) Cultural Heritage in a Changing World. Springer International
- Forbes, N (2016) ‘The Flows of International Finance after the First World War:
- the Bank of England and Hungary, 1920 – 1939’, in The Impact of the First World War on International Business. Ed. by Andrew Smith, Kevin D Tennent, Simon Mollan.
- Forbes, N (2014/2) ‘Democracy at a disadvantage? British rearmament, the shadow factory scheme and the coming of war, 1936-40’. Jahrbuch für Wirtschaftsgeschichte/Economic History Yearbook, De Gruyter
Jonathan Waller is an artist and Senior Lecturer in Fine Art within the Faculty of Art and Humanities, Coventry University.
Jonathan has exhibited both nationally and internationally since 1985 and has been included in 2 major surveys of British and European Art. He has works in many private and public collections including the Metropolitan Museum of Modern Art New York and the Tate Gallery. Other commissions include: Portrait of the Warwickshire and England cricketer Tom Cartwright, Art on the Underground poster for Kew Gardens and 2 paintings of London parks for Heathrow airport.
A forth coming interdisciplinary conference accompanies this new series of works, considering further historic and contemporary explorations around the theme of the Cycle of Life in Art, Literature and Science, this will be taking place on July 1st 2016 at Coventry University.
Graham Chorlton is a senior lecturer in Fine Art in the School of Art and Design, Faculty of Arts and Humanities at Coventry University. He has a BA in Fine Art from the University of Leeds, teaches both theory and studio practice on the BA Fine Art and is course leader for MA Painting.
His research interests are around the continuing presence and possibilities of image-based painting in contemporary art; his practice explores painting as a medium which embodies subjective experience through the relationship between the painted mark and the image, with particular reference to place, memory and immanence.
Graham has an extensive record of exhibiting nationally and internationally, with work recently shown in the Prague Biennale, Art Chartron in Bordeaux and one-person exhibitions in London and Dublin. He has also had work featured in the John Moores Liverpool exhibition and the Royal Academy Summer Exhibition.
- Small Worlds (2015), New Art Gallery Walsall. Chorlton was invited by curator Deborah Robinson to participate in this exhibition and the work ‘A Small History of Concrete’. The exhibition focussed on the changing urban environment, exploring how we understand the local in an increasingly global context.
- Pavilion (2015), Cross Gallery Dublin. This one-person exhibition allowed for the display of a large group of paintings, exploring research themes of time and place, which created conversations between a range of related images.
- Royal Academy Summer Exhibition (2014) Royal Academy of Arts, Piccadilly, London. Painting ’Corner’ (acrylic, oil on gesso on canvas) selected for the Royal Academy summer Exhibition. The painting continues research into the possibilities of representational painting today with reference to place, time and memory.
DR SIMON BELL
Dr Simon Bell is Deputy Head of the School of Art and Design at Coventry University.
Dr Bell’s background is in literature, languages, editorial, design and book publishing, in which he worked for over 20 years. He has won four national awards in industry. He teaches written work to students of all art and design disciplines and levels from Foundation through to PhD, as well as some studio practice. He has a Masters in English Literature, and his PhD focused on the short text. His research interests are short-text multimodal writing, visual language, digital publishing and contextual studies. His outputs include a major co-authoring of the Phaidon Archive of Graphic Design (2012) and “Writing against formal constraints in art and design: making words count”, a chapter in Multimodality in Higher Education, a book on multimodal writing to be published 2016 by Brill, Leiden/Boston.
Senior Lecturer and Course Director for postgraduate MA Contemporary Arts Practice and PhD supervisor in the Faculty of Arts and Humanities at Coventry University.
George Saxon’s artistic practice is in part rooted in expanded cinema and performance of the 60’s and and 70’s, with works ranging from early experimental performance interactions with film and video, to the multi screen projections utilising both existing and prefabricated architecture as one of the founder members of the artists group Housewatch. Pivotal in Saxon’s work is a phenomenological enquiry into the ‘dynamics of the moment’ and the role of the ‘performative’ and ‘material’ vehicle of the body in relationship to trauma, conflict and liberation. His work embraces and reflects ways in which we understand our private and social environments through our interaction with the spaces we inhabit and our encounters with technology. His solo and collaborative work has been exhibited nationally and internationally since 1975.
- Saxon, G (2010 ongoing), 2017 Grave Dancing #Test 5, Edinburgh Film House, Edinburgh.As part of Film and the Other Arts: Creative Dialogues in the Avant-Garde. The season is part of the two-year Research Network Film and the Other Arts: Intermediality, Medium Specificity, Creativity based at the University of Edinburgh and Aberystwyth University and funded by the Arts and Humanities Research Council (AHRC). .
- Saxon G (2015) BREATHING TEST: Dying Melody a new work focused on breathing (inhalations and exhalations), and the limitations caused by childhood respiratory illness and auto-immune weakness.
- Saxon, G (2014) ‘A Record of Undying’, (in collaboration with D. John Briscoe 1949-2013). This exhibition reveals the very private and intimate relationship forged in the ordinariness and complexity of dying and facilitating end of life care.First shown at VIVID Projects,Birmingham, UK. A large scale installation of photographs and moving image alongside Blissfully Gunned Down (1980 – 2013), a live durational 16mm performance which reworks footage of D. John Briscoe’s staged death in 1980. http://www.vividprojects.org.uk/programme/a-record-of-undying/