- Two great conferences: Victorian Body Parts - Not a horror film, but a fantastic conference at Barts Pathology Museum in September, now open for registration. And a new call for papers from the Edwardian Culture Network: Edwardian Premonitions and Echoes.
- I am so fascinated in how you negotiate a three-dimensional dress into a flat-paper pattern and then back onto a real-life squishy person. You can see how the wonderful people at Collette Patterns start to work this out.
- A new exhibition looking at the New Sculpture movement opens this week at the Leeds Art Gallery – The Age of Innocence. It looks great, so you should check it out if you are in the area.
- Owen Hatherley’s interesting take on revivalism in The Guardian. Should we rebuild the Crystal Palace?
It is no secret that I am a fan of both sculpture and fashion. Sophia Kokosalaki’s designs, then, are doubly interesting to me. Not only are they beautiful garments that I dream of wearing, but they are also elegant and sophisticated modern takes on classical drapery.
Kokosalaki was born in Athens in 1972 and has degrees in Greek and English as well as an MA in womenswear from Central Saint Martins. She designed the official costumes for the 2004 Olympic Games in Athens and has designed costumes for Irene Papas’s Antigone in 2005.
Sculpture Season at the Grant Museum of Zoology, Wed 5 June – Sat 31 August.
To my shame I never went to the Grant Museum of Zoology while I was a student at UCL. The only museum of zoology in London, its is the place to go if you want to see a Quagga skeleton or a jar of moles. The Grant Museum moved into UCL’s Rockerfeller Building in 2010, designed by Paul Waterhouse (1861-1924), son of Alfred Waterhouse, to house the UCL Medical Schools. You can definitely see the influence of the Gothic Revival in the red brick and portland stone facade and the wrought iron interiors of the Gower Street building, which was completed in 1907. The rooms now housing the zoological collection originally functioned as the medical school library, but is now full, from floor to ceiling, with glass cases of skeletons, stuffed animals and microscope slides.
My visit was prompted by finding out about Sculpture Season at the Grant Museum. Students from the Slade School of Art, studying sculpture, had been invited to make interventions into and around the museum collections, in collaboration with the museum’s curators. Continue reading
Recently it’s been my pleasure to review some great books on nineteenth-century culture, especially the brilliant Thinking without Thinking by Vanessa Ryan. So I thought I would share some excerpts from my reviews. I can recommend all of these books and I’d love to hear about your own recent Victorian reads – please do leave a comment if you have a new favourite. For full reviews follow please follow the links below. All of these books are now available and can be purchased directly from the publishers or via amazon.
Linda Parry, William Morris Textiles (V&A Publishing, 2013) 304 pp., £35 (HB), ISBN 9781851777327
‘Linda Parry’s revised edition of William Morris Textiles is the culmination of over thirty years of careful research and hands-on experience with the works of Morris & Co. in Parry’s former position of Deputy Keeper of the Department of Furniture, Textiles and Fashion at the V&A. The resulting work is as detailed and as satisfying as one of Morris’s designs.
It goes without saying that a book devoted to Morris’s designs is beautiful, but it is also an incredibly useful resource. With biographies of the key personalities involved with Morris & Co., reproductions of Morris’s preparatory sketches and notes from his experiments with dyes, and a chronological catalogue, which notes where both samples of the textile and the original design are held, this book will be invaluable to collectors of Arts and Crafts textiles, to researchers and students of design history and even to artists and designers of today. I would recommend reading this book alongside Fiona MacCarthy’s magisterial biography to gain a rounded understanding of Morris’s full and varied life, but one can imagine him entirely approving of the work and detail that has gone into this indispensible volume.’
The full review can be found in the most recent (July/August 2013) edition of The Art Newspaper.
So after some months of waiting and correcting, I finally handed in hard bound copies of my PhD thesis. K.R. Faulkner PhD 2013 has been stamped in gold on some beautiful blue buckram, wrapped around two volumes of which are hopefully now making their way into the Courtauld Library. I didn’t cry and no one has sent me any diamonds from Harry Winston yet, but I am hoping this is just an oversight.
But I would like to share my gratitude for everyone who helped me along the way a bit more openly, so I thought I would publish my acknowledgements here on my blog rather than make you all go and request it from the Courtauld stacks. I think Gwyneth would approve:
I would not have been able to carry out my doctoral research without a studentship from the Arts and Humanities Research Council and I am immensely grateful for this support. I am also indebted to the staff of the Henry Moore Institute for the support and assistance and also the opportunities to share my ideas that they have offered me during the course of my research. Special thanks go to Kirstie Gregory, Lisa Le Feuvre, Claire Mayoh, Elizabeth McCormick, Sophie Raikes and Jon Wood.
Thanks must also go to the staff of all the libraries and archives I have had the pleasure of visiting during my studies: The Courtauld Library; The John Ryland’s Library; The National Art Library and the Archive of Art and Design; The Royal Academy Library and Archive and the Tate Archives. Curators and staff at Eaton Hall, The Harris Museum, The Royal Academy and The Walker Art Gallery have also given their time generously
My supervisor, Caroline Arscott, has constantly challenged and enriched my thinking throughout my studies at the Courtauld. I would like to thank her for showing me the value of rigour and the rewards of imaginative enquiry. Rebecca Arnold offered guidance, encouragement and a valuable alternative perspective in the early stages of my research. My examiners, Michael Hatt and Lynda Nead made enormously helpful suggestions in their reports and in my viva exam. Greg Salter generously commented on several chapters of this thesis and it would have been poorer without his insight and common sense. I must also thank Greg and Kate Aspinall for organising the British Art Discussion group meetings and conference. Sharing my work with other doctoral students researching modern British Art has been both enlightening and pleasurable. I also have to thank those who have invited me to present my research at conferences and symposia especially Tim Barringer and Jason Rosenfeld, Jana Funke, Jennifer Grove, Grace Brockington, Sarah Turner and Michael White.
I have been very lucky to share my time at the Courtauld with a stimulating and inspiring cohort of doctoral students. I must thank in particular, Jocelyn Anderson, Amanda Delorey, Carey Gibbons, Roo Gunzi, Jack Hartnell, Sara Knelmann and Sam Rose. Keren Hammerschlag, Lucetta Johnson and Ayla Lepine have also given me the benefit of their experience and been generous with their advice. A huge thank you must go to all of my friends outside of the Courtauld for keeping me sane. Most of all, I would like to thank my family, Andrew, Dorothy and Jenny Faulkner, who could not have done more to help me.
Thanks should also go to my cheerleaders on twitter – especially @MinxMarple and @charlottefrost – who made even the toughest parts of #acwri fun (almost) with plenty of Ryan Gosling shaped rewards.*
*Although apparently James Franco is confused about why we are not all making memes about him.
So, it is Friday night and naturally a girl’s* thoughts turn to updating her C.V. While I am aware of the basic, essential rules of C.V. writing (always tailor your C.V. to the post you are applying to; never include ‘modelling a life-size model of Benedict Cumberbatch out of Fimo’ under ‘Personal Interests’), I felt like I should definitely brush up on the conventions of writing an academic C.V.
I found some really helpful (and free!) resources online, which I thought it would be useful to share with you, dear reader:
- Some very comprehensive and clearly set out advice from Vitae, an organisation ‘championing the personal, professional and career development of doctoral researchers and research staff in higher education institutions and research institutes.’
- More concise advice from the University of London Careers group on writing C.V.s for PhD Students.
- Careers advice from jobs.ac.uk - where would I be without their Sunday email job alerts of joy?
- Advice on CV lay out from early career academics (MLA say no periods apparently), from the College Art Association.
I am sure there is more and I am most certain that I have a lot more to learn, but please do let me know if you find these resources useful or if you have more suggestions. I will also upload a copy of my academic C.V. for your scrutiny, so if you have any questions or feedback please do let me know in the comments section.
*for girl, read = slightly anxious, aspiring academic.
Oh dear – I can only put down the lack of activity on my blog down to one thing – finishing. I have recently been finishing a lot of things. I handed in my PhD thesis – hurrah! I finished living in London. I edited my third issue of immediations and stepped down as editor-in-chief.
I have also been exploring lots of new projects. I have been teaching as a visiting lecturer, rather than as someone else’s teaching assistant. I have feel very privileged to be able to be co-teaching a masters course at the Courtauld with Professor Caroline Arscott and I also taught a course for first year undergraduates about sculpture in London. I have been continuing with my work for the Public Programmes department at the Courtauld Gallery and this has meant learning and writing about artists as diverse as Peter Lely and Pablo Picasso.
From now on, I hope to use this blog as a record and aid to my new research projects as I try and make my way in the (slightly terrifying) world of early career academia. In the spirit of this motivational mood, here are my aims for the rest of 2013:
- submit at least three journal articles for publication
- keep pursuing postdoctoral opportunities
- plan a new course for undergraduate teaching
- work out a postdoctoral book proposal
Will I achieve all of these dear reader? Only time will tell, but I promise I will share any exciting research and news I come across on the way.