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University of Warwick
UOA 64 - History of Art, Architecture and Design
RA5a: Research environment and esteem
UOA 64 RA5a
History of Art at Warwick has actively built on its achievements since 2001, and significantly developed its profile. Departures and retirements offered the opportunity for substantial renewal, and new appointments since 2004 have been enormously beneficial in respect of research, teaching, and experience. Filling posts with scholars of proven excellence and outstanding intellectual distinction has guaranteed continuity and development; augmenting our strengths in Italian, French and British Art. Avery, Cooper and Bourdua boost mediaeval and Renaissance painting, sculpture and architecture; Smith maintains our traditional distinction in nineteenth-century French painting. Diaz and Hatt complement and reinforce our specialists on British art since the Restoration. Hatt additionally expands our coverage to North American art from the late nineteenth century onwards. Bishop, an internationally acclaimed critic and expert in contemporary practice, extends our intellectual reach.
Faculty and University Research Environment
The university offers one term's sabbatical for every six served. The department gives up to £500 annually for individual travel or publication expenses. Two members of the University's Research Support Services ('RSS') expertly assist staff in complementing leave with externally-funded research time and project management. A University pump-priming fund, the Research and Development Fund ('RDF'), provides grants for start-up of new research programmes: Avery's Venetian Bronzes project (p.2) has benefited from such funding.
The University Library's book purchasing policy targets departmental research areas, to expand an extensive collection. It offers 72 discipline-dedicated periodicals in print or on-line, and subscribes to databases including Art Index, ARTBibliographies Modern, Avery Index, and the Bibliography of the History of Art. These are fully utilised by staff and graduate students. Richard Parker, the dedicated subject librarian, liaises closely with staff and offers research training to all postgraduate students.
The Department holds regular research seminars, given by both internal and visiting speakers. Departmental research strategy is the focus of termly away-days. Each summer a Graduate Symposium allows graduate students to present research papers.
The department has expanded research in all areas identified in the 2001 RAE. While individual scholarship is the principal driver, collaboration within the department and across the faculty reinforces and develops our work. This is overseen by the Head of Department and managed by the Director of Research. The latter reviews research plans and grant and fellowship applications; and balances the demands of larger against smaller research projects and scholarly events. We aim to sustain at least one major project during any one period of assessment. Campbell's AHRC-funded 'The Life and Work of Sir Basil Spence 1907-76: Architecture, Tradition and Modernity' will be succeeded by Avery's 'Venetian Bronzes Project' (for which applications for a Getty Collaborative Research Grant and the AHRB are being made), a collaboration with The Institute of Archaeology, UCL, the V&A, the Metropolitan Museum of Art, Harvard University and the Kunsthistorisches Museum, Vienna,.
During 2001-2007, the appointments of Early Career and established researchers impacted positively on our Research Strategy by consolidating one research strand, Venice and its Legacy from the early mediaeval period to the present, and establishing a new one, The History and Politics of Display. Cross-departmental research is fruitfully promoted in each area and informs both strands of our MA. Display embraces common practical, historical and theoretical interests amongst Dias, Hatt, Bishop and our Renaissance experts. An interest in the built environment and its shaping of historical perceptions is common to Avery (the artistic topographies of Renaissance Venice), Cooper (the architecture of the Venetian empire), Rosenthal (colonial spaces), Hatt (display and the urban environment in late nineteenth-century America) and Campbell (the Basil Spence Project). We collectively understand the histories of art and ideas as embedded within general histories, and the history of art to be inherently interdisciplinary.
We all recognise that to talk across periods, and to take an international comparative perspective, must impact on individual projects. Shared interests in the art and architecture of empire permit the comparative study of Venice and Britain, opening up possibilities of collaborative research within the department and across the faculty. The representation and reception of Venice extends historically from the Renaissance to the present (the Biennale), and involves, besides the fine arts, literature and film.
Sustainability of the Research Environment
The University supports research materially and logistically. The Faculty of Arts Research Committee coordinates strategies to encourage significant cross-disciplinary cooperation and to underpin good practice. The University's new Institute of Advanced Study offers funding for visiting scholars and, with the Centre for Global History and Culture (founded 2006), is generating cross-departmental research groupings in which art historians play an active part. Within the Faculty, the Humanities Research Centre ('HRC') inspires considerable interdisciplinary activity, and awards grants for pump-priming and travel. The Centre for the Study of the Renaissance, the Eighteenth-Century Centre, the Centre for Philosophy Literature and the Arts, and the Palazzo Pesarao Papafava ('PPP'), our Venetian base, supply crucial foci for interdisciplinary research and its dissemination. The Mead Gallery is central to research in contemporary practice, and in October 2007 co-hosted our first Artist-in-Residence, Dan Perjovschi.
The Head of Department and Director of Research ensure a balance between teaching and research, oversee and coordinate study leave and grant applications, and monitor research plans and their progress.
Study Leave Entitlements are factored into forward planning, and individual career development integrated into departmental research and teaching strategy; a flexible workload model allowing those returning from leave to maintain the momentum of their research. Research-based teaching is crucial to sustaining the Research Environment. Final-year BA Special Subjects are based on individuals' ongoing research, as are our two MA streams (Venice, and Display). We therefore recruit doctoral students whose projects either fall within these fields, or are compatible with the particular expertise of their supervisor. During the period of assessment we awarded 8 PhDs, 1 MPhil and 2 MAs by Research. We have 13 PhDs and 1 MA by Research currently registered, and are actively seeking to expand these numbers through the new MA streams and research-led undergraduate teaching. Bishop received a £10K award from Warwick's Reinvention Centre to develop research-led undergraduate teaching with a view to increasing significantly post-graduate recruitment.
The new appointments enhance our research dynamic and impact on our research culture. Avery and Cooper underpin Venetian Studies, and the appointment of Bourdua, with interests in Italian Renaissance patronage and the Venetian diaspora, reinforces that research cluster. The work of Dias (an early-career Researcher and expert on the exhibition cultures of eighteenth- and early nineteenth-century Britain) complements Rosenthal's, and that of a second early-career Researcher, Bishop, on the display and politics of contemporary art. Hatt's research on early twentieth-century American sculpture within a political culture parallels Avery's on Renaissance Venice.
We now occupy new, customised premises as the University's Millburn House. These supply excellent AV resources for staff and students, and a co-location with Theatre Studies (with Film and Television to follow) has already led to joint discussions and seminars, and preliminary discussions for a symposium in relation to an exhibition on performance at the University's Mead Gallery. The PPP offers long-term sustainability for BA and MA teaching in Venice and, as a base for colleagues and doctoral students, facilitates individual and collaborative research there. We are developing links with Venetian institutions; collaborating informally and exchanging expertise with The Universitá di Ca' Fosari, IUAV, Ca' Michelangelo Murura (Columbia Study Center), Ca' d'Oro, Fondazione Giorgio Cini, Venice in Peril, and Save Venice Inc. In 2007 Smith and Avery held two symposia at the PPP (p.9), and it will continue to serve this function. Rosenthal has been involved in the establishment of the Centre for Research in Art and Travel at the National Maritime Museum, which creates a focus for research in colonial art and comparable fields, and generates cross-institutional momentum. Hatt maintains close contact with the Yale Center for British Art and is co-editing two volumes (to be based on a series of workshops) for them for publication in 2009 and 2012. We publish and will continue to publish articles, chapters in books, exhibition catalogues and edited volumes and books.
Research grant applications and other forms of research income
External funding won during 2001-08 is detailed in RA4. In 2003 The AHRC awarded Campbell £13,625 towards her project 'The Studio-house in England and France c1900-1940: art, architecture, and identity'; granting a further £1,803 in 2004. She was principal applicant in the Spence Project, a 3-way collaboration additionally involving the Royal Commission on AHMS and the National Galleries of Scotland. This has produced an acclaimed exhibition and its associated publication, and a sourcebook (forthcoming 2008). It is generating three symposia (Edinburgh, Warwick, London). It supports two Research Fellows, Walker, and Fenton, based at RCAHMS, and one PhD student during 2005-08. Tate Britain commissioned Rosenthal as lead curator of the 2002-03 Gainsborough exhibition, and co-editor of its catalogue. In 2005-06 he was awarded a British Academy/Leverhume Trust Senior Research Fellowship (£30,139) for his project, The Artless Landscape: the British in Australia c1788-1840. In November 2006 Cooper was awarded the Sir Philip Leverhulme Prize (£70K) for an innovative programme of research based on the Venetian empire. In February 2007 Smith was awarded a Getty Scholar Grant ($75K) for a project on 'Change', researching the possibility of using neuroscientific theory to investigate whether art is a natural language (as Chomsky envisages spoken language) and therefore subject to change only within the parameters of what our evolutionary nature allows.
Campbell published four articles on studio-houses, and her book, Studio Lives is currently under consideration by Yale UP. Rosenthal drafted The Artless Landscape. The British in Australia c1788-1840, and 'London versus Sydney: the politics of colonial architecture c1815-23' is to be published by The Journal of Historical Geography (2008). Smith's essay on Cézanne's Primitive Self (2007) completed the Biography Project funded through a Getty Visiting Scholarship (2002).
Support and training for research staff
All junior research staff received training in research as postgraduates, and have subsequently built on that during periods as Research Fellows. Starting lecturers receive 33% remission on a normal workload during probation (2-5 years depending on career stage at time of appointment) and mentoring and feedback on their research plans and publications from senior colleagues. They take the University's Postgraduate Certificate in Academic and Professional Practice, attending workshops on research planning, and on supervising research students. They are advised departmentally on how best to utilise study leave provision. Staff development needs are overseen at the Faculty level by the Arts Faculty Research Committee and through the RSS.
Support and training for associates, fellows and research students
Two academic staff members supervise each doctoral student. They monitor and regularly review individual progress and advise on specific and general issues as they arise. A departmental committee scrutinises individual progress, research plans, tutorial reports, and plans of action made subsequent to supervisions, in the annual upgrade procedure that underpins Quality Assurance. Doctoral students attend the Arts Faculty Graduate Training Programme, and those working on Renaissance topics additionally the Warwick-Warburg AHRC-funded 'Resources and Techniques for the Study of Renaissance and early Modern Culture'. All are active in the AHRC-funded RX network's workshops on research skills. Doctoral students in Venice receive training in archival research and working with primary sources. Those researching other areas receive comparable and topic-specific instruction.
Masters and doctoral students attend all Departmental and other Faculty research seminars, participate in the Faculty postgraduate conference each March, and present work-in-progress papers at the Departmental postgraduate symposium every May. These opportunities develop students' confidence and techniques when presenting to academic audiences.
Research topics fall within the general expertise of the department. Several of the current doctoral students are working on Venetian or associated topics, and, if in Venice, are fully integrated into the teaching and research activities of the Department when in the PPP. We are recruiting students into the area of contemporary display, and the planned expansion of the MA is designed to increase PhD enrolments. Uncommon specialisms such as colonial art (Rosenthal) and neuroscientific theories of art (Smith) should attract those who wish to specialise in those areas.
Students completing PhDs 2001-08 who obtained academic employment include: Bolgia (Research Fellow, Pembroke College, Cambridge; Lecturer, University of Edinburgh); Cobianchi (Research Assistant, British School at Rome); Eaton (Postdoctoral Fellowships Universities of Manchester and Michigan; Lecturer, UCL); Farquhar (Lecturer, Queen's, Belfast); Geddes (Tutor, OU); Givans (Instructor, Massachusetts College of Art); and Retford (JRF Gonville & Caius College, Cambridge; Lecturer, Birkbeck College). This record attests to national and international recognition of the quality of our research students.
Other research activities
In 2007 Bishop organised the conference, 'Rethinking Spectacle', held at Tate Modern. In 2001 Campbell co-organised and co-chaired the conference 'British suburbia between the wars, its architecture and material culture' at Dorich House, Kinston University. In 2002 Dias was co-organiser (with Professor Mark Hallett of the University of York) of the conference 'The Englishness of English Art? Painting, Aesthetics and Nationhood 1760-1824' held at the Centre for Eighteenth-Century Studies, University of York. Conferences organised by Hatt include 2002, 'Multiculturalism and the Crisis of Visual Culture' (University of Nottingham, co-organised with Professor Nicholas Mirzoeff of the University of New York); 2005, 'Gender, Taste and Material Culture in Britain and America in the eighteenth Century' (Yale Center for British Art with the AHRC Centre for the Study of the Domestic Interior) and 2006, 'Histories of British Architecture. Where Next?' (Yale Center for British Art with Yale School of Architecture and the Society of Architectural Historians of Great Britain).
Staff maintained a high volume of internationally-significant publications, additional to those cited in RA2. In the Renaissance area six journal articles (four refereed), twenty book chapters, two exhibition catalogue essays and four Conference Proceedings included Cooper 'Qui Perusii in Archa Saxae: the Shrine of Beato Egido in San Francisco al Prato, Perugia' Papers of the British School at Rome lxxic (2001) 223-244, and Gardner 'Giotto in America (and elsewhere)' V. Schmidt (ed.) Italian Panel Paintings of the Duecento and Trecento, Studies in the History of Art 6 1 National Gallery of Art, Washington 2002 161-181. Elsewhere, Bishop published an edited anthology, Participation, Whitechapel & MIT Press 2006, two catalogue essays, and over twenty art-critical essays, many in Artforum. The remaining three refereed periodical articles, eleven chapters in books and exhibition catalogues included Rosenthal, 'Gainsborough's Cottage Door: A Matter of Modernity' in Ann Bermingham (ed.) Sensation Sensibility. Viewing Gainsborough's Cottage Door New Haven & London 2005 77-95; Campbell 'Paper Dream City/Modern Monument: Donald Gibson and Coventry' in I. Boyd Whyte (ed.) Man-made Future: Planning, Education and Design in mid-20th-century Britain Routledge 2006 121-144, and Smith's special issue of French Studies, The Art Novel (January 2007).
Books to be published within the next assessment period include Avery Vulcan's Forge in Venus's City: the Production of Bronze Objects in Renaissance Venice; , Bishop The Social Turn (on spectatorship in contemporary art, in discussion with MIT Press), Campbell Studio Lives, (Yale UP), and Dias, Exhibiting Englishness: John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic (Yale UP). Hatt will publish Mirrors and Shadows: Homosexuality, Imagination and Visual Culture in late-Victorian Britain (in discussion with Yale UP), Rosenthal, The Artless Landscape (Yale UP),and Governor Macquarie's Culture, and Smith, Seurat Re-viewed (Penn State). Sir Basil Spence 1907-76: Buildings and Projects will be co-authored by Campbell with Miles Glendinning. Avery and Dias are co-editing an anthology of historical writing on Venice.
The intellectual infrastructure
There are both discrete and interconnected strands within the intellectual infrastructure. Avery, Bourdua, Cooper and Gardner research the production, patronage, liturgical contexts and reception of late mediaeval and Renaissance Venetian and Italian art and architecture; Dias and Rosenthal the arts, their reception and the cultural politics in eighteenth- and early nineteenth-century Britain, and Hatt and Campbell the later nineteenth and twentieth century, and Bishop contemporary art since 1960 with reference to the historic avant-garde. Cooper, Rosenthal and Hatt share interests in the arts of empire; Campbell and Smith, the sites of production and literary reception of nineteenth-century British and French art; Bishop, Rosenthal and Smith the relation between art and politics. The Research Environment promotes the development of these shared interests to maximum benefit.
The wider context of the research infrastructure
We believe our research should impact on institutions of display. Bishop advises on acquisitions with the Mead Gallery, for whom she is co-curating (in collaboration with the ICA) an exhibition on contemporary performance. Collaboration on future exhibitions has been initiated at Compton Verney, where formal placements permit Warwick MA students to work with its collections. Bishop (an RCA Visiting Professor for 2007-09) worked with Dr Mark Godfrey (then Slade School of Fine Art) on the international symposium, 'Rethinking Spectacle' (Tate Modern, March 2007) and with Tate's conservation department on an international conference on installation art (2007). Cooper is involved in the re-hanging, interpretation and digital reconstruction of the Mediaeval and Renaissance Galleries at the V&A. Avery worked with the Soprintendendza, Milan, on a conference on Renaissance Bronzes, held in Venice in 2007, has been asked to collaborate on a project on the Bells of Venice, co-organised by the Soprintendenza of Venice and the Curia Patriarcale, and on a catalogue of the bronzes in the Museo Civico Correr. Campbell's collaboration with Scottish institutions is mentioned above. Hatt is working with the Henry Moore Institute on the representation of sculpture in painting. Rosenthal directs the department's partnership with the Centre for Art and Travel at the National Maritime Museum.
Avery, Bishop and Cooper are involved with Berg's (History) Global History and Culture Centre, and participated in the symposium, 'History's Global Conversations' at the PPP in January 2007. Bishop is on the steering committee of the University's Centre for Literature, Philosophy and the Arts and spoke at the Sociology Department's conference on research-led undergraduate teaching (2007). Smith assembled philosophers from Warwick and other institutions for an international workshop on 'Pictures and Perception' held at the PPP in March 2007.
During Gardner's Directorship of the Warwick Centre for the Study of the Renaissance, and of the AHRB Centre for the Study of Renaissance Elites and Court Culture (2002-05) the Fondazione Monte de Paschi of Siena awarded a grant of £25K for two major international conferences on Sienese art, staged in the city, and the Andrew W. Mellon Foundation $323K for the three-year interdisciplinary project, 'Spaces of the Past: Renaissance and early Modern Cultures'.
The operational infrastructure
Millburn House will create a physical focus for research in the visual and performative arts, enabling collaborative research, teaching and scholarly programming. Our presence in Venice has been consolidated through leasing the PPP as a centre for teaching and research.
Alongside internal Quality Assurance mechanisms, departmental activity is monitored through a regular Departmental Review, most recently in 2003-04, and the Quinquennial Review, now amalgamated into the Strategic Departmental Review and covering all activities, scheduled for Summer 2008.
In addition to information detailed under 'Research Environment', we have a subject-dedicated Librarian in the University Library, a 0.8 Visual Resources Curator, her 0.4 assistant, and a full-time photographer, all currently digitising the extensive University slide collection. We share an Administrator (appointed 2006) with Theatre Studies. The University art collection, and Modern Records Centre are used for teaching.
The University's Academic Resources Committee directs £30K/pa to Venice-related activity. The North American Fund gave £1K to bring US speakers to the 2007 Smith and Avery Venice workshops, the latter additionally receiving £5K pump priming from the University's RDF. The HRC granted £1K towards Smith's workshop, and funded the visiting fellowship of Professor Gary Radke, an expert on patronage in Renaissance Italy, at Warwick in Spring 2007. Besides RSS, seed funding for research projects and small grant allocations is supplied by the RDF and HRC respectively.
Avery was British Academy Post-Doctoral Research Fellow at Cambridge University, 1999-2003, and Rush H. Kress Foundation Postdoctoral Fellow at Villa I Tatti, 2004-05. Bishop had a Leverhulme Trust Early Career Fellowship at the RCA 2004-06, and research residencies at the Nordic Institute for Contemporary Art, Helsinki, in 2003, and at the Office for Contemporary Art, Oslo, 2006. While a postgraduate in the department, Bolgia won the 2002 Kostof Prize, awarded by the American Society of Architectural Historians. Cooper held a Leverhulme Truist Post-Doctoral Study Abroad Studentship at the British School at Rome, 2000-01, a Henry Moore Institute Post-Doctoral Fellowship at the Courtauld Institute of Art 2001-02, and was Residential Post-Doctoral Fellow at the Dutch Art Historical Institute, Florence, in 2002. In 2006 he was the first art historian to win the Sir Phillip Leverhulme Prize for an outstanding young scholar under 35. Dias was Paul Mellon Junior Research Fellow at the Yale Center for British Art in 2001, and Postdoctoral Research Fellow at the Paul Mellon Centre for Studies in British Art in 2001. Gardner was Visiting Professor in History of Art, Harvard and Distinguished Visiting Professor in Mediaeval Studies, University of California, Berkeley, 2003. In 2005-06 he was Guest Research Professor at Harvard University, at Villa I Tatti, 205-06. Hatt was Associate Fellow at the Institute of United States Studies at London School of Advanced Study, 2001-02, a Paul Mellon Centre Senior Fellow, 2003-04, Fellow at the Whitney Humanities Center, Yale University, 2004-05, Visiting Professor in the Department of Art History, University of Memphis, February 2007, and is currently Visiting Professor, School of History of Art, Film and Visual Media at Birkbeck College. Rosenthal was MacGeorge Fellow, University of Melbourne, March-April 2007. Smith was Visiting Scholar at the Getty Research Institute September-December 2002 and September 2007-June 2008.
In 2001 Campbell co-chaired the conference on 'Interwar Suburbia: architecture and material culture' at Kingston University, and in 2005, Cooper chaired a session at the conference organised around the exhibition 'Depth of Field' at the Henry Moore Institute, Leeds. In 2003 and 2004 Gardner chaired sessions at the Conferences organised by the AHRB Centre for the Study of Renaissance Elites and Court Cultures and the Universitá degli Studi on Sienese Art, and in 2004 acted as Moderator for a session on Italian Gothic Church Façades at the International Mediaeval Congress at Leeds in 2004. In May 2005 he organised the international conference, 'Arnolfo's Moment' at i Tatti, and is currently editing its Acts. Hatt convened and co-chaired panels on 'Politics and Decoration in Victorian and Edwardian Britain' at CAA (Boston, 2006). He convened over 20 international conferences at the Yale Center for British Art while Head of Research there, as well as symposia at Strawberry Hill, the V&A, and El Escorial, Madrid.
Avery is researching the monument to Domenico Contarini in San Stefano, Venice, at the invitation of the Soprintendenza per i Beni Architterori de Venezia and was consultant to the Department of Applied Arts, Fitzwilliam Museum, Cambridge.
Bishop is on the advisory boards of the MOMA (NY) Graduate Symposium (2007), and is on the advisory boards of the ICA, London, the Centre for Contemporary Art, Nottingham.
Campbell was on English Heritage's Postwar Listing Steering Group (2001-03), has been on the RCAHMS Spence Project Steering Group since 2004, and is on the panel reviewing the AAH's benchmark statement for QAA.
Cooper was external expert for the Reviewing Committee on the Export of Works of Art, Department for Culture, Media and Sport; and is consultant to the V&A Mediaeval Galleries Project.
Gardner is English Secretary of the Delmas Foundation Grants Committee, and External Advisor of the Max-Planck Gesellschaft. He advises the Deusche Forshungsgemeinschaft, and the Italian Consilio Nazionale della Ricerca. He was on electoral boards of professorships at Harvard, the Scuola Normale, Pisa, and the Open University; is a member of the German Education Ministry Committee for the establishment of outstanding university centres, and was on the appointment panel for the Max-Planck-Gesellschaft Directorship in Rome. He is on the editorial boards of the Burlington Magazine, Revue de l'Art, and Perspective, and is a member of the Harvard Center for Italian Renaissance Studies Publication Committee.
Hatt is on the editorial board of Visual Culture in Britain. He refereed promotions for the University of York and the OU.
Rosenthal joined the Advisory Board of the Paul Mellon Centre for Studies in British Art in 2005. Her acted as an assessor for the Canada Funding Council in 2002 and 2005; was external consultant on research quality at the Department of History of Art, Australian National University (2005), and the School of Fine Art at the University of Western Australia (2006), and refereed a professorial promotion at the University of Texas, Austin (2007).
Smith is on the editorial board of the Liverpool UP series, Value: Art: Politics.
Staff delivered invited lectures at institutions including the Art Institute of Chicago, the Frick Collection, MOMA New York, Metropolitan Museum of Art, New York, National Gallery of Art, Washington, National Museum, Stockholm, the National Gallery, London; Tate Britain; Tate Modern, the National Gallery of Scotland, the Institute of Advanced Study, Berlin; Penn State University (Harold E. Dickson Memorial Lectureship in Art History), Yale University, the University of Melbourne, and elsewhere.
Staff refereed publications for university presses including Cambridge, Chicago, Oxford, and Yale, and for periodicals including Art Bulletin, Art History, Renaissance Studies, and Speculum. They acted as peer-reviewers for the AHRB/AHRC, British Academy, Consiglio Nazionale della Ricerca, Fonds National (Switzerland), Leverhulme Trust, National Endowment for the Humanities, and the Paul Mellon Centre for Studies in British Art.