Dr. Alice Correia
School of Arts and Media
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’.
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.
- 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