Feminism, Sexual Politics, and Visual Culture
Centre for Doctoral Training
The CDT: Feminism, Sexual Politics, and Visual Culture was established in 2018 with a commitment of £310,000 over 4 years for studentships. The main catalyst for it is the deepening and rapidly changing global complexity of the relationship between feminist praxis and culture, particularly in politics, arts, and academia. The recent tsunamis of feminist activism, from sport to science, government to entertainment, are the most public evidence of this new complexity. Nearly 50 years after Kate Millet’s Sexual Politics, Shulamith Firestone’s The Dialectic of Sex, Germaine Greer’s The Female Eunuch the political-cultural challenge that confronts this generation brings adventure, risk, urgency and promise. The CDT will explore this moment.
The CDT is radically integrative, in five ways:
- we aim for an inclusive, intersectional definition and practice of feminism;
- 'visual culture’ or ‘arts’ to us is inclusive of all practices where visuality is significant, including performative and written modes;
- we have a trans-disciplinary staff team, with expertise including Fine Art, Graphics, English Literature, Drama, Art History, Art Criticism, Politics, and Sociology;
- the research that is undertaken will have immediate implications for areas such as social policy, pedagogies, and cultural industries as well as feminist thinking and the arts;
- the CDT has international resonance and impact, as can be demonstrated most simply by the range of countries from which the students come and their research.
We have focused our studentships at the intersection of feminist thinking and visual culture, to explore areas that include critical race theory; activist interventions; curation and the making of the canon; masculinities; post-humanisms; and queer theory. Our five main areas of questioning are:
- Spaces of (mis)rule. Activist movements such as #metoo and #notsurprised have made public the widespread sexual- and power-abuse across arts practices and institutions, shattering the image of them as liberating, experimental, and interrogative of the status quo. How can feminist theorists and practitioners respond to this exposure and new cultural risks? How can the collective joy of activism work strategically to prevent backlash? How can new historiographies of these spaces, and creation of new spaces, aid our understanding of and resistance against systemic exploitation? What are the critical and practical implications for the places of arts education, production, exhibition, or performance?
- Dissenting Identities. (Re)definitions of gendered, sexual and transnational identities frequently respond to – or are challenged by – hyper-masculinity and ultra-nationalism. The current climate makes urgent the need for new, historically informed theories of alternative masculinities and queer, trans*, and transnational identities. How might the exploration of non-normative culture, history and community through arts practices and theories aid the protection and development of dissenting, precarious, or marginal identities? Do attempts to promote these identities (for example, in presentation spaces and criticism) run the risk either of neutralising radical identity positions through assimilation or of erasing the most marginal in the search for solidarity?
- Decolonising theory and intersectionality. How does feminist thinking in arts theory and practice intersect with critical race thinking? How are raced subjectivities, identities and bodies negotiated through the arts, their environment, and the academy, and how can they be historicised, within an intersectional feminist framework? How can feminism as a political project be legible in differing cultural contexts? Can we move beyond multi-national perspectives on contemporary creative/professional practices and feminist theory, including into new ways of writing feminist theory and testing it through practice?
- Feminist making and doing. From personal conversations to the most public of awards, women have highlighted gendered and raced inequalities within arts spaces and canons. How might feminist approaches to curation, archiving and canonisation (including critique of masculinist canon- and discipline- formation, verbatim theatre, ‘queering’ the gallery, or identity-specific literary prizes) challenge these inequalities? How might these challenges provide adventurous pathways to real and measurable change within the arts? How can we interrogate the gendered and raced associations of materials and processes of making and doing in highly gendered and raced working environments, and how do we negotiate the personal, artistic, academic, and professional risks in doing so?
- Post-human bodies. Revolutions in bio-engineering, robotics, medicine, architecture and social media have transformed our relationships with bodies. Working in the intersections of arts and applied sciences, and of new technological and theoretical developments, how can we bring feminist methodologies to bear on the process of (re)making the body? How can we re-evaluate our dependency within and between human, animal, mechanical, virtual and other hybrid bodies? What does it mean to be human in a post-human world?
What are the pedagogical aims of the CDT and how are they distinct?
All PhD student supervision adheres to the policy and practices determined by Loughborough’s Doctoral College (DC).In the CDT we will overlay the best practice of supervisory teamwork emerging from the DC with best feminist pedagogical practice of lateral sharing: while the staff have their academic expertise and experience, we recognise that all students bring distinct experiences. The aim is to build a rich, reflexive, productive research culture, engaging both supervisors and the students. As far as possible, supervisory teams will consist of two junior staff members and a senior Chair, so that it will embody a collegiate and feminist cross-generational mentoring structure.
This structure will emphasise connections through learning across differences. Following a tokenistic academic conference, Audre Lorde famously wrote ‘the master’s tools will never dismantle the master's house.’ Feminist pedagogies are frequently the site for the dissemination of ‘new’ or ‘alternative’ knowledges and thus, are a critical site for the development of new methodologies, many of which 'riff' (Braidotti) – make connections that seemed not to exist before or where conventional wisdom says we ought not to tread. We have learned to re-examine academia’s theoretical story-telling narratives (Hemmings), and of the need to ‘cite each other into existence’ (Ahmed). This process comes from mutuality/generosity: less an emphasis upon sitting at the feet of the ‘master’ and more the establishment of communities of learners who bring different skills, knowledges and experiences to the process. It is not ‘top-down’, but emerges through engagements where candidates, supervisors and mentors, across generations, all learn; and where mentoring (staff/staff; staff/student; student/student) facilitates leadership that does not function as an imposition of hierarchy/status. Working with a programme of students and a group of staff enables us to be skills sharers. This is turn leads to mutual empowerment: rather than controlling knowledge to wield power, we all are sharing knowledge across our diversity to enable and empower people to make informed decisions about their lives.
The CDT staff are listed below, and the supervisors for the students starting this year are drawn from this group:
Dr Marion Arnold
Dr Marco Bohr
Dr Kathryn Brown
Dr Barbara Cooke
Dr Jennifer Cooke
Dr Rachael Grew
Dr Deborah Harty
Prof Ruth Kinna
Prof Marsha Meskimmon
Dr Eleanor Morgan
Dr Line Nyhagen
Dr Sarah Parker
Dr Catherine Rees
Prof Hilary Robinson
Dr Mo White
Prof Alison Yarrington
The Director is Hilary Robinson, Professor of Feminism, Art, and Theory, School of Arts English and Drama.
The Internal Management Group comprises Dr Marion Arnold, Dr Kathryn Brown, Dr Jennifer Cooke, Dr Rachael Grew, Prof. Ruth Kinna, and Prof. Marsha Meskimmon.
Administratively the students are within the management structures of the School of Art and Design (SAED) Post-Graduate Research (PGR) students. Dr Brian Jarvis is the Director of PGR. Emma Nadin is the administrator. Prof. Mike Wilson is the Associate Dean for Research. Policy and Practice for PhDs at Loughborough is developed and overseen by the Doctoral College (DC).
Mikaela is an art educator and curator. She worked at 49 Nord 6 Est - Frac Lorraine, the Galerie des Galeries (Galeries Lafayette) and Palais de Tokyo among others. She holds a professional MA in curating (Paris IV-Sorbonne University) and a MA in contemporary philosophy (Paris X University). She researches how feminist strategies can be used to question power structures in exhibition spaces and how inclusive learning environnements can be developed with specific audiences.
Daniel is a visual artist and lecturer who is currently researching how queer identity might be communicated through crafted objects, particularly focusing on collage and fiber practices. Daniel is a seminar tutor in Art History and Visual Culture and has previously worked in several Further and Higher Education institutions. He graduated with a BA in Fine Art and English Literature (First Class) from Aberystwyth University and an MA in Arts and Cultural Management (Distinction with Research Prize) from King’s College London. Daniel has also worked and exhibited in a variety of contemporary art institutions. Further details can be found via his website www.danielfountain.com
Sophia completed her funded MA in Modern and Contemporary Literature, Culture and Thought from the University of Sussex in 2015 (Distinction and thesis prize). She has been based at the University of Aarhus since 2016, where she has been involved in teaching and developing a number of courses at the English department. Her research with the Feminism, Sexual Politics and Visual Culture CDT will be informed by her own experiences of teaching in the neoliberal university, feminist activism and community engagement and will investigate feminist pedagogies for times of political crisis. The project will explore the ways in which contemporary feminist discourse is currently looking to its pasts and their potential for renewal and exhilaration, and how archives and arts-based education can be mobilized in site-specific and empathetic ways to create new educational spaces and practices that aid our understanding of and resistance to systemic oppression and inequality.
Hazel is researching ventriloquism and feminism in art/writing after conceptualism. The project mobilizes some of her broader interests in listening as activism, the politics of citation, and visual and verbal relations. Hazel is also a seminar tutor in Art History and Visual Culture, and previously worked as a one-to-one ESL and writing tutor with children and adults. She has contributed to various feminist/queer activism projects and art/poetry performance events in London over the last decade. She holds an MA (Distinction) in Poetic Practice and a BA (First Class) in English and Creative Writing from Royal Holloway, University of London.
After graduating cum laude in Art History from the K.U.Leuven (Belgium) in 1999, Tom started organising contemporary art projects and writing about art, music and societal issues on an independent basis. Ever since his student days, feminism in the arts has been one of his key interests. From 2009 to 2016, he worked as a coordinator with LUNA, the collective of the major abortion centres in the Dutch-speaking region of Belgium, and became a fervent advocate of sexual and reproductive rights. At present, he is still a board member of LUNA. In 2013, he curated an exhibition in Antwerp with contemporary artists who reflected on the fortieth anniversary of the legalisation of contraception in Belgium. Two years later, he was responsible for a well acclaimed, nationwide awareness campaign with six art photographers about abortion stigma, on the occasion of the twenty-fifth anniversary of the Belgian abortion law. In 2014, he gave a presentation called “’Say Goodbye to Coat Hangers’: The Concept of Abortion in Contemporary Visual Arts and How it Can Reduce Abortion Stigma” at the session of the Women’s Caucus for Art during the C.A.A.’s Annual Conference in Chicago, which eventually formed the foundation of his current PhD research at Loughborough University.
Agostinho, MPhil, Communications Studies (UWI, Mona), BA (Hons), Media and Communications (UWI, Mona) will examine how contemporary gendered insurrections against the Jamaican state are mediated through popular culture, specifically Dancehall, in its re-reading/ contesting of official discourses about Independence, sovereignty and national identity. He is especially interested in the works of female Dancehall artistes and has published on how they challenge patriarchal controls over their bodies and sexualities by embodying grassroots ideas of Womanism/ Feminism in their performance repertoires. Agostinho has previously worked as an English Language Instructor, Adjunct Lecturer and Talk Show Host/ Radio Announcer (Radio Mona) at the University of the West Indies, Mona campus, Jamaica, as well as Civil Servant in climate change, disaster risk reduction and environmental management. He was the recipient of a 2003 International Visitor Leadership Grant by the United States Department of State. Earlier in 2018, Agostinho was invited by the Organisation of American States (OAS) to participate in a Disaster Field Operations project at Florida International University (FIU).
Mark has a background as a curator and writer, specialising in contemporary art. He began his career in London in the 2000s, first as a curator at the Barbican Art Gallery and subsequently as Director of Exhibitions at the ICA. In more recent years Mark relocated to Copenhagen to be Director of Kunsthal Charlottenborg, before returning to London to work on the re-launch of the Design Museum. Mark’s PhD research focuses on the Cuban-American artist Felix Gonzalez-Torres, who was a key figure in the New York art world of the 1990s – until his death from AIDS in 1996 – and Mark is interested in his work’s relation to queerness, publics and distribution.
Since graduation in 1983 Serena has worked in the field of fine art printmaking as technician, printer, educator, mentor, artist, and collaborator. She trained as a lithographer at the Curwen Studio, holds MA (Fine Art) from Central Saint Martins, and PGDip. (Art and Design in Education) from the Institute of Education, London. Her prints and bookworks are regularly exhibited both in the UK and internationally and she has been the recipient of several prizes and awards. Serena’s research will consider the productive tension between contingent structure and fluid body, through the virtual and material poesies of the artist’s bookwork. serenasmith.org
Marlous (Marie Louise) van Boldrik
Marlous holds a BA in Art History from Radboud University Nijmegen (the Netherlands), where she also did a Research Master in Art & Visual Culture (graduating cum laude). At Loughborough University she will be doing research in the field of visual activism, focussing on the use of images and acts of cleaning in contemporary activism and the feminist implications of these manifestations.