Dr Alice Correia
Research Fellow in Art History
University of Sussex, 2002–2006: AHRB Funded DPhil in Art History Thesis Title: “Questions of Identity in Contemporary British Art”
University of Sussex, 2000–2001: AHRB Funded MA History of Art: Europe, Asia and America; Distinction. Thesis Titled “Chris Ofili: Art and Ethnicity in 1990s Britain”.
University of East Anglia, 1996–1999: BA Honours History of Art & Architecture; First Class
Prior to joining the University of Salford I was The Henry Moore Foundation Research Fellow, at Tate (2012-14); based at Tate Britain, I undertook a two-year landmark research project titled “Henry Moore: Sculptural Process and Public Identity” cataloguing Tate’s collection of Henry Moore sculptures, and contributing research and essays to the project’s on-line research publication.
I taught Art History at the University of Sussex for ten years, and have also worked as a Curator in museums and galleries in both the public and private sectors, including The Government Art Collection, and Gimpel Fils, London.
I am a Trustee of the journal Third Text. www.thirdtext.org
I have ten years of experience teaching 19th, 20th and 21st century Art History undergraduate and postgraduate courses within Higher Education. I have taught courses covering such topics as the ‘Origins of Modernism’; ‘Art in the 20th Century’, and ‘British Art Since 1979’.
My research focuses on post-1945 modern and contemporary British Art, with a particular focus on diasporic artists. My work is informed by post-colonial theory, feminism and Black cultural studies, and takes an inter-disciplinary approach to Art History.
My current research examines British art and exhibitions in the 1980s and 1990s, with a specific focus on British-Asian diaspora artists, the politics of representation, and anti-racist struggle. In recent years, the British Black Arts Movement has gained considerable attention, critically and curatorially. I am interested in the ways South Asian artists positioned themselves within discussions of ‘Blackness’ during the 1980s, and how those artists have been historicized – or not – within narratives of Black/ British art. In 2017 I undertook a mid-career fellowship award from The Paul Mellon Centre for Studies in British Art in order to undertake a project titled “Articulating British Asian Art Histories”.
I was co-editor of the 30th Anniversary special issue of Third Text, titled To Draw the Line: Partitions Dissonance, Art – A Case for South Asia, published November 2017. For this issue I also contributed the paper, Diasporic Returns: Reading Partition in Contemporary Art, which proposes an expansion of the field of Partition Studies to include the work of globally dispersed diasporic artists. Undertaking a detailed study of the work of three contemporary artists, Nilofar Akmut, Zarina Bhimji and Navin Rawanchaikul, I suggest that the legacies of Partition traverse geographical boundaries and have been inherited by a generation who were not witness to its cataclysmic events. To accompany the publication of the Special Issue I organised an ACE (Grants for Arts) Funded one-day symposium, To Draw the Line: A Case for South Asia, at the Bluecoat, Liverpool, 15 November, 2017.
In addition, I have an active interest in Modern British Sculpture, and have given public lectures on Henry Moore at Leeds Art Gallery (2014) and Henry Moore Institute, Leeds (2018). I have published on Barbara Hepworth and the commercial art world of the 1950s in Sculpture Journal and Tate Papers.
Qualifications and Memberships
Member of the Association of Art Historians
Held in the Pattern: Notes on Susan MacWilliam’s Concatenations, in Susan MacWilliam: Modern Experiments, FE McWilliam Gallery, Banbridge, Forthcoming: 2018.
Artists’ catalogue entries, in PRESENCE: A Window into Chinese Contemporary Art, exhibition catalogue, University of Salford, 2018, pp. 3-40.
Diasporic Returns: Reading Partition in Contemporary Art, Third Text, vol.31, issue 2-3, 2017
Partitions Special Issue: Introduction, with Natasha Eaton, Third Text, vol.31, issue 2-3, 2017
No Entry: The Work of Allan de Souza and Alia Syed, in Contents Under Pressure, exhibition catalogue, Davidson College/ Van Every Smith Galleries, 2016
Gimpel Fils, Barbara Hepworth, and the promotion of British sculpture in the 1950s”, Sculpture Journal, Autumn 2015.
Henry Moore: Catalogue of Sculpture in the Tate Collection, in Henry Moore: Sculptural Process and Public Identity, Tate Research Publication, 2015.
Critical voices: artists’ responses to Moore’s gift to Tate in 1967, in Henry Moore: Sculptural Process and Public Identity, Tate Research Publication, 2015.
Barbara Hepworth and Gimpel Fils: The Rise and Fall of an Artist-Dealer Relationship”, Tate Papers, Issue 22, Autumn 2014.
Interpreting Jeremy Deller’s The Battle of Orgreave, in Joram ten Brink (ed.), Killer Images: Documentary Film, Memory and the Performance of Violence, New York: Columbia University Press, 2013.
Writing the Nation: Recent Publications on Contemporary British Art, book review, Art History, vol.35, no.3, June 2012.
Zarina Bhimji: Light, Time and Dislocation, exhibition review, Third Text, vol.26, no.3, May 2012.
Routing ‘Identity’ in Britain in Tessa Jackson (ed.), Entanglements: The Ambivalence of Identity, London: Institute of International Visual Arts (INIVA), September 2011.
Remarks on Painting and Sculpture (indebted to Roger Hilton), in David Waterworth (ed.), Uncaught Hares: The King George Street Studios, Greenwich: University of Greenwich, July 2011.
Adventures of a Mystical Nymph: the art of Alan Davie, in Alan Davie, exhibition catalogue, The Stanley & Audrey Burton Gallery, University of Leeds, March 2010.
Expressions of Hope, in Mara Helen Wood (ed.), Albert Irvin: A Retrospective, exhibition catalogue, Kings Place Gallery, London/ University of Northumbria Gallery, Newcastle, 2008.
Local-Global Positions in Zarina Bhimji’s Out of Blue, in Gregory Minissal and Celina Jeffery (eds.), Global and Local Meditations, Cambridge: Cambridge Scholar Press, 2007
Interpreting Jeremy Deller’s The Battle of Orgreave, Visual Culture in Britain, Autumn 2006
Crime and Justice: Willie Doherty and Chris Ofili, The Irish Review, Autumn/Winter 2004