Research

Thesis Title: Disruptive Aesthetics: Black British Art since the 1980s

My project encompasses an art historical reassessment of artists and art works that have, with few exceptions, been consumed by discourses of cultural theory and identity politics. It aims to contribute to a new art history that maps the dialogues and developments produced by black British artists onto the broader stories of British and twentieth century art as a whole. At the root of the project is an attempt to trace an alternative iconography within a wide breadth of works through an exploration and interrogation of 'disruptive aesthetics'.

Conferences:

Co-Convenor, "Boundaries? New Histories of Art, Architecture and Design", RX-Research Exchange in History of Art Network Postgraduate Conference

Papers:

• "Sailing the Black Atlantic: The Ship in Works by Keith Piper and Yinka Shonibare" as part of Seeds of Change: A Floating Ballast Seed Garden program at Arnofini, Bristol, July 2013.
• "Disruptive Restaging: Re-Presenting Hogarth in Works by Lubaina Himid and Yinka Shonibare" at "Visual Culture in Crisis", University of York, May 2013.
• "Disruptive Aesthetics: An Overview" at "British Art Post Graduate Network", University of East Anglia, March 2012.
• "Good Hair, Bad Hair"at "Otherwise Engaged: Legacies and Questions of Marginal and Mainstream Visual Arts Strategies", University of Leeds, December 2011.

Teaching

• Approaching the Past (Seminar Tutor)
• Introduction to Early Modern Art (Seminar Tutor)