Dr. Alice Correia

School of Arts and Media

Image of Dr. Alice Correia coming soon

Contact Details

Crescent House Room 209

Please email for an appointment.


Current positions

Research Fellow in Art History


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


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’.

Research Interests

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


  • 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


  • Member of the Association of Art Historians