Research fellows 2005
Each year our fellowship programme enables artists and researchers to develop their work.
In 2005 our visiting fellows included Anna Dezeuze, David Hulks, Uta Kornmeier, Mariko Leino, Anna Lovatt, Frederico Camara, Christopher Marshall, Dalibor Prančević, Jane Simpson and Sarah Staton.
Anna Dezeuze
University of Manchester
Post-Doctoral Research Fellowship
2005-07
The ‘Almost Nothing’: Dematerialisation and the Politics of Precariousness
David Hulks
University of East Anglia, Sainsbury Centre for Visual Arts
Post-Doctoral Research Fellowship
2004-06
Adrian Stokes and the Changing Object of Art (1930-72)
Dr David Hulks is currently conducting research into sculpture studies in the twentieth-century avant-garde (inter-war, post-war, post-minimalist, contemporary) and public sculpture (Elizabethan origins, classicism, East Anglian survey).
He is also interested in world art studies (new theoretical perspectives, historiography) and art education: critical curriculum (critical studies), art & assessment (national curriculum), cross-cultural (comparative studies), multidisciplinary (cross-curricular and collaborative working).
Uta Kornmeier
Oxford University
Post-Doctoral Research Fellowship
2004-06
Taken from Life: Madame Tussaud and the Pantheonic waxworks display
Mariko Leino
Oxford University
Post-Doctoral Research Fellowship
2005-07
Italian Renaissance Plaquettes in Context
Anna Lovatt
University of Nottingham
Post-Doctoral Research Fellowship
2005-07
The role of drawing in New York based sculptural practices of the late 1960s and early 70s
In her examination of the relationship between drawing and sculpture in this period, Dr Anna Lovatt pays particular attention to the work of Ruth Vollmer, Mel Bochner, Eva Hesse, Sol LeWitt and Dorothea Rockburne.
Her current research interests include Post-war American drawing, particularly in the context of post-Minimal and Conceptual art; the diagram in twentieth-century art and theory; transatlantic dialogue in Conceptual art; and legacies of the 1960s in contemporary artistic practice.
Frederico Camara
Photographer, London
Research Fellowship
2005
Leeds (Partial View)
Frederico Camara is a Brazilian photographer now based in London. His research at the Institute looked at overlaps between sculpture and photography – locating sculptors who have used photography as part of their artistic practice, and photographers whose work has sculptural characteristics.
This theoretical research informed his own images of the Institute’s collections and physical spaces, which were shown at the Institute in the 2006 exhibition Leeds (Partial View).
Christopher Marshall
Senior Lecturer in Art History and Museum Studies, University of Melbourne
Research Fellowship
2005
Sculpture in the Museum
Christopher Marshall looked at the times and spaces of sculpture in the museum. He investigated the changing functions and associations of sculpture in the museum from the mid-twentieth century onwards, focusing on high-profile commissions and acquisitions which promote an institution’s ideals and aspirations.
Marshall developed a major international conference with the Institute examining these issues in 2007, working with Dr Jon Wood to produce a publication.
Dalibor Prančević
Curator, Ivan Mestrovic Foundation, Croatia
Research Fellowship
2005
Ivan Meštrović in Leeds
Dalibor Prančević is both working as a curator and completing a PhD on Expressionism and Art Deco in the works of Ivan Meštrović at the University of Zagreb. Meštrović spent time in Leeds and exhibited at Leeds City Art Gallery in 1915.
In his fellowship at the Institute, Prančević expanded his PhD project and explored Mestrovic’s connection to Britain, by working with the Institute’s collections and more widely in Leeds.
Jane Simpson and Sarah Staton
Artists, London and Sheffield
Research Fellowship
2005
kissingcousins
Staton and Simpson have been working collaboratively to identify a sculptural family, a search which created Daddy Pop (The Search for Art Parents), an exhibition at the Anne Faggionato Gallery, London, in 2004.
Their fellowship allowed them to build on this mutual fascination with the sculptural and fill in the gaps in the original Daddy Pop project through archival research and by initiating discussion with other artists and curators.
