PROFESSOR CHRIS DORSETT
ACADEMIC PROFILE
Currently: Research Associate, Pitt Rivers Museum, University of Oxford and Research Fellow, Oxford Centre for Hindu Studies
2012-2019: Professor of Fine Art, Northumbria University, Newcastle Upon Tyne.
2005-2012: Reader in Art School Practices, Northumbria University.
2010-2012: Honorary Research Fellow, Edinburgh School of Art.
1999-2005: Senior Lecturer, Northumbria University.
1991-1995: Guest curator, Royal University Institute of Fine Art, Stockholm.
1987-1997: Visiting tutor, Central St. Martin's School of Art, London.
1988-1992: Head of Sculpture, University of Oxford, Ruskin School of Drawing.
1976-1988: Tutor in Sculpture, University of Oxford, Ruskin School of Drawing.
1971-1974: Royal College of Art (Andrew J. Lloyd Prize)
RESEARCH
2023: (forthcoming) 'We contemporise, they persist'
Book chapter. In Payne, E., Ellis, A. L. R., & Wootton, W., (eds), Ancient Plaster: casting light on a forgotten sculptural material, London: The British Academy.
2022: 'It’s Not Junk - Where Museum Archives Meet Genetic Science'
TEDx talk.https://www.youtube.com/watch?v=1nkWUFWiDiw
2022: Crisp, F., Dorsett, C., & Mackenzie, L. ’Ruptures and wrong-footings: destabilizing disciplinary cultures’
Journal article. Leonardo/ISAST, MIT Press.
2021: 'Doing harm in exhibitions'
Conference paper - video screening. ASA21 Responsibility, University of St Andrews (online).
2021: ‘Retreading the art school corridor to Cast Contemporaries’
Conference paper - video screening. Ancient Plaster: casting light on a forgotten sculptural material, British Academy, London (online).
2020: ‘Voice over: archived narratives and silent heirlooms’
Journal article. entanglements: experiments in multimodal ethnography, 3(1): pp 43-54.
2019: ‘Voice-Over: archived narratives and silent heirlooms’: an artist-curator responds to a report prepared for the United Nations Relief and Rehabilitation Administration in June 1945’
Conference paper. A presentation of work-in-progress at the Tavistock Institute’s archive, Archive-A-Live! the Tavistock Institute Annual Symposium, 6 November 2019.
2019: The Path of Śakti – India and Nepal: visual story-telling
Curatorial advisor. An exhibition of ethnographic photographs by Prema Goet held at the Oxford Centre for Hindu Studies to coincide with Śākta Traditions Symposium III. http://saktatraditions.org/sakta-traditions-symposium-iii/
2019: Rituals of Refurbishment: an introduction
Video screening. A reflection on recent audio-visual work by Dorsett & Nair presented as the inaugural session of the 2019 Visual, Material and Museum Anthropology seminar series at the Pitt Rivers Museum, Oxford University. Undertaken in the role of a Research Associate at the Museum.
2018: Hidden Treasures in Private Academic Collections
Curatorial advisor. An exhibition of Hindu objects collected by Oxford indologists curated by Iana Lukina under the supervision of Dorsett and Dr Bjarne Wernicke-Olesen. Held at the Oxford Centre for Hindu Studies as part of the Śākta Traditions Project.
2019: Ancelin-Bourguignon, A., Azambuja, R., & Dorsett, C. ‘Lost in translation? Transferring creativity insights from arts into management’
Journal article. Organization: The Critical Journal of Organization, Theory and Society, Volume 27, No. 5.
2018: ‘the train starts – it stops – it starts again’
Catalogue essay. In Christine Borland, I Say Nothing, Glasgow: Glasgow Museums. Linked to Thoughts for a journey (see below).
2018: Dorsett, C. & Nair, J. ‘Rituals of refurbishment: remembering/remediating Philip Rawson’s Tantra exhibition’
Conference paper - video screening. ASA2018: Sociality, matter, and the imagination: re-creating Anthropology, University of Oxford.
2018: Nair, J. Mudra: when hands speak
Narrator. Documentary film scripted and directed by Janaki Nair with Dorsett providing the voice-over.
2018: ’Static Art and Temporal Imaginings: thinking about Philip Rawson amidst a numinous cast collection’
Keynote conference paper. Lasting Impressions 2018, Laing Art Gallery, Newcastle upon Tyne.
2018: ‘OK this is my chosen object. Or rather it’s one of my objects’
Invited lecture. Gravity:material public lecture series, Sheffield Institute of the Arts, Sheffield Hallam University.
2017: Thoughts for a journey: a prepared text with passing discussions
Event curator. Scripted train journey from Glasgow Central Station to Glasgow Museums Resource Centre, Nitshill. Contribution to Doubtful Occasion: A creative symposium based on artist Christine Borland’s research into WW1 objects in Glasgow Museums’ collection, 5 October 2017.
2017: ‘the train starts – it stops – it starts again (effort, stasis, and the Glasgow Museums Resource Centre)’
Conference paper. Contribution to Doubtful Occasion (see above).
2017: 'Studio Ruins: describing unfinishedness'
Journal article. Studies in Material Culture.
2017: ‘On waking up, say a spell backwards’
Public event - seminar chair. Rebecca Heald with Amrita Jhaveri (curators), Thinking Tantra, Drawing Room, London.
2017: Dorsett, C. & Nair, J. ‘Waving and Drowning: at the conjunction of contemporary British and Indian responses to a song by Rabindranath Tagore’
Published conference proceedings, Équipe de Recherche Interdisciplinaire sur les Aires Culturelles, University of Rouen-Le Havre Press.
2016: ‘The pleasure of the holder: media art, museum collections and paper money’
Journal article. International Journal of Arts and Technology.
2016: Dorsett, C. & Nair, J. ‘Rawson’s Rasa: handling the taste of emotion’
Conference paper. Presenting the Theatrical Past: interplays of artefacts, discourses and practices, IFTR 2016, Stockholm University.
2016: Dorsett, C. & Nair, J. ‘Revisiting Tantra: contemporary British and Indian responses to the Tantra-oriented songs of Rabindranath Tagore’
Conference paper. Variations, Rewritings and Adaptations of the Jātaka Tales and Buddhism in India Today, SARI 2016 Annual and International Colloquium, University of Paris 13.
2015: Paper, table, wall & after
Exhibition co-curator - lead artist. External partner: Taiwan National University of Arts, Taipei. This exhibition was jointly organised with artist Sian Bowen and featured the work of 38 artists who contribute to the research and teaching activities of Paper Studio Northumbria.
2015: Dorsett, C. & Goda, S. ‘Stilling the flow of signs: creative action and the discontinuity of the museum archive’
Book chapter. In Paschalidis, G. & Yoka, L. (eds) Semiotics and Hermeneutics of the Everyday, Newcastle upon Tyne: Cambridge Scholars Publishing, pp 176-192.
2015: singlesingles
Event curator. Contribution to Record Store Day 2015. Curated conversation with musicians Andy Elison (Johns Children, Radio Stars) and Paul Harvey (Happy Refugees, Penetration). The Stand Comedy Club, Newcastle upon Tyne.
2015: Dorsett, C. & Nair, J. ‘Revisiting Tantra: a contemporary British and Indian response to the “seductiveness” of Tantric museum objects’
Conference paper. The Culture of Seduction [The Seduction of Culture], Cyprus Semiotic Association, University of Cyprus.
2015: ‘Studio Ruins: narrating “unfinishedness”’
Conference paper. Material Culture in Action: Practices of making, collecting and re-enacting art and design, Glasgow School of Art.
2014: Commute-Converse 1: curated conversations on Northern Rail commuter trains
Event curator. Genomics experts Volker Straub and David Elliott (both of the Institute of Genetic Medicine, Newcastle University) talk to James Atlee (First Great Western ‘Writer on the Train’), Margaret Stewart (curator, Edinburgh College of Art) and Shelley Trower (Department of English and Creative Writing, Roehampton University).
2014: ‘Negotiating the Icebox: cold collections, dark museums and contemporary art’
Conference paper. Art Out of Time, Institute of Visual Research, University of Oxford.
2014: ‘Museum stores, genetic junk, experimental art – conversations on a train’
Conference paper. ASA14 Decennial: Anthropology and Enlightenment, University of Edinburgh.
2014: ‘Negotiating the Icebox: cold art and cinematic darkness’
Invited lecture. Center for Computer Games Research, IT University of Copenhagen.
2013: Extraordinary Renditions: the cultural negotiation of science
Group exhibition and conference paper. BALTIC Centre for Contemporary Art (Gateshead) contribution to the 2013 British Science Festival. Co-organised with Christine Borland and Fiona Crisp. http://vimeo.com/75586281
2013: ‘At a moment’s notice: according to the pleasure of the holder: the semiotics of paper’
Keynote conference paper. DeSForM 2013, School of Digital Media, Jiangnan University, Wuxi, China.
http://desform2013.id.tue.nl/conference/keynotes/
2013: Dorsett, C. ‘Becoming an artist-in-residence: the ‘mobilities’ of Christopher Jones’
Catalogue essay. In Unmonumental – Christopher Jones, Newcastle Upon Tyne: Northern Print, pp 3-9
https://www.academia.edu/5567120/Christopher_Jones_Unmonumental_-_site-dependent_assemblages
2013: Dorsett, C. ‘Safe Houses on enchanted ground’
Catalogue essay. In Sian Bowen and Nova Zembla: Suspending the Ephemeral (Rijksmuseum), Amsterdam: Rijksmuseum in conjunction with Research Group for Artists Publications (Sheffield), pp 107-113.
2012: Cast Contemporaries
Exhibition curator - lead artist. External partner: Edinburgh School of Art. Appointed Honorary Research Fellow to curate an exhibition for the Edinburgh Festival about the recent restoration of the City’s historic plaster cast collections.
2012: 'Synaesthetic Presences: new sights from old sound objects'
Conference paper. Making Sound Objects: Cultures of hearing, Creating and Circulation, British Forum for Ethnomusicology Conference, Pitt Rivers Museum, Oxford. http://makingsoundobjects.wordpress.com/2012/11/05...
2012: Dorsett, C. Kolaiti, C. Longstaff, B. Tsuchiya, I. & Welcome, M., ‘Contemporary healthcare through the lens of the photographic arts’
Invited lecture. The Royal Photographic Society's 2012 Combined Royal Colleges Medal Lecture. Practice-led research undertaken by photographers within Northumbria University’s visual arts partnership with Northumbria Healthcare NHS Foundation Trust (1999 to the present). Royal College of Physicians, London.
2011: Dorsett, C. ‘Things and Theories: the unstable presence of exhibited objects’
Book chapter. In Dudley, S., Barnes, A. J., Binnie, J., Petrov, J., & Walklate, J. (eds) The Thing about Museums: Objects and Experience, Representation and Contestation, London and New York: Routledge.
2009: Dorsett, C., ‘Making Meaning Beyond Display’
Book chapter. In Dudley, S. (ed.) Museum Materialities: objects, engagements, interpretations, London and New York: Routledge.
2008: Dorsett, C., ‘Glimpsing the archive’
Book chapter. In Bacon, J. (ed.) Arkive City, Belfast: Interface University of Ulster & Locus+
2007: Dorsett, C., ‘Exhibitions and their Prerequisites’
Book chapter. In Rugg, J. & Sedgwick, M. (eds), Issues in Curating: Contemporary Art and Performance, Bristol and Chicago: Intellect Books and University of Chicago Press.
PHD THESES SUPERVISED TO COMPLETION
2020: Janaki Nair, 'Intertwining Hands: revisiting the South Indian performative experience'.
2019: Alysia Trackim, ‘Complicated Grief: How Orphanhood drives practice-based research of an artist-in-mourning’.
2019: Paul Dolan (co-supervisor), ‘Reality Engines: A practice based exploration of appropriation strategies in Game Art’.
2018: Clare Money (co-supervisor), ‘X Marks the Spot: triggering experience X through a visual arts practice.’
2018: Paul Goodfellow, 'Art as a Distributed Ecosystem: mapping the limits of systems-based art.'
2018: Daksha Patel (co-supervisor), 'The Concept of Noise in Medical Visualisations Perceived Through a Contemporary Drawing Practice.'
2017: Nicola Singh, ‘On the ‘Thesis by Performance’: a feminist research method for a practice-based PhD’ (AHRC BGP studentship).
2016: Jacqueline Donachie, ‘Illuminating Loss: a study of the capacity for artistic practice to shape research and care in the field of inherited genetic illness’ (AHRC BGP studentship. AHRC Anniversary Research in Film Awards winner 2015).
2016: Kate Liston (co-supervisor), ‘Link Zone: an exploration of the sensation of knowledge through a practice of art and writing’. (AHRC BGP studentship).
2015: Brian Fay (co-supervisor), ‘Models of Temporality in Drawing and the Museum’.
2015: Jacob Krukar (co-supervisor), 'The Influence of Museums' Spatial Layout on Human Attention and Memory for an Art Exhibition'.
2014: Agnieszka Kozlowska (co-supervisor), ‘Taking Photographs Beyond the Visual: paper as a material signifier in photographic indexicality’.
2012: Alexandra Rowe, ‘Communicating Pain: can physical pain and the associated psychological effects, be communicated and understood through art?’ (AHRC doctoral scholarship)
2012: Paul Harvey, ‘Stuckism, Punk Attitude and Fine Art Practice: parallels and similarities’ (AHRC doctoral scholarship).
2011: Poyan Yee, ‘Healing Through Curatorial Dialogue: an investigation into the role of contemporary curatorial practice in a healthcare setting.’ (Northumbria University studentship in conjunction with Northumbria Healthcare NHS Foundation Trust).
2011: Sachiyo Goda, ‘An Investigation into Japanese Notions of Space and Time: practising “ma” through the process of making sculpture.’
2011: John Lavell. ‘Is there an analogous relationship between the creative process and forensic methodology?’ (AHRC doctoral scholarship).
2011: Andrew McNiven (co-supervisor), ‘"Monkey Business": an artist's action research into the parameters of temporary installation through reflexive formal and informal documentary practice.’ (AHRC doctoral scholarship).
2010: Sulien Hsieh, Buddhist Meditation as Art Practice: Art Practice as Buddhist Meditation,
2009: Nickos Kabitsis. ‘Sculpture and Health: new views on schizophrenia’.
2010: Hiroko Oshima (co-supervisor), ‘Artists’ Groups in Japan and the UK and their impact on the creative individual.’
2009: Ikuko Tsuchiya, (MPhil) ‘Therapeutic Touch: the use of photo-based methodology as a healing practice within the context of healthcare.’
2009: Jolande Bosch, ‘The Strategic Studio: how to access and assess decision-making in visual art practice.’ (AHRC doctoral scholarship).
2009: Christina Kolaiti (co-supervisor), ‘The Influence of the Photographic Narrative in Healthcare Dialogue.’ (AHRC New Collaborations Award, Northumbria Healthcare NHS Foundation Trust and Northumbria University).
2007: Thitinam Boonpap (co-supervisor), ‘Popular Television and the Construction of Contemporary Thai Cultural Identity.’
2006: Apichart Pholprasert. ‘The Rural-Based Artist: an investigation into the creative processes by which artists have rejected the metropolitan context of contemporary art.’
2004: Henna Asikainen. ‘Art, Nature and Environmental Aesthetics’
2003: Silvana Macedo, ‘From Fine Art to Natural Science through Allegory’
2003: Caroline Mercier (co-supervisor), ‘Designing Theatrical Costumes in Collaboration: a contribution to theatre’.
RESEARCH DEGREES EXAMINER
2021: Alexandra Hughes. ‘Wilding Photographs: exploring the turbulent and affective qualities of the material phenomenon of photography’. Northumbria University.
2019: Helen Collard. 'Finding Prana: digital and performative experiments in search of a technology of the self'. Northumbria University.
2019: Louise O’Hare. ‘Centrefold 1974: a memoir, 2019’. Northumbria University.
2019: Alexandra Hughes. ‘Wilding Photographs: exploring the turbulent and affective qualities of the material phenomenon of photography’. Northumbria University.
2019: James Hutchinson. ‘Resorption: working (in) the gap between artistic and curatorial production’. Glasgow School of Art.
2018: Louise Mackenzie. ‘Evolution of the Subject: synthetic biology in fine art practice’. Northumbria University.
2018: Clare Stephenson. ‘Girl gets drunk and goes swimming: a shift in means for the female sculptor’. Northumbria University.
2018: Judit Bodor. 'Exhibiting The Ivor Davies Archive of Destruction (in) Art: an exploration of curatorial processes in presenting historical performance art in the Museum, through observation, case studies and practice'. Aberystwyth University.
2017: Jenny Duffy. ‘Making Theatre as an Emerging Company: exposing trends, tactics, strategies and constraints’, Department of Arts, Northumbria University.
2016: Andrew Sneddon. ‘Confusions of Meanings in the Concept of Place: an investigation into the role place occupies in influencing the production and reception of the artwork’. Edinburgh College of Art.
2015: Aya Kasai. ‘Ma in relation to Gen’, Oxford Brookes University.
2015: Camilla Nock. ‘Reanimating the wound: dermatilliomanic practice and the First World War’, University of Plymouth.
2014: Joanne Clements, ‘Adapted orphans and protected histories: time-based media and the moving image archive’, University of Salford.
2014: Edwina fitzPatrick, ‘Artists’ geographies of the landscape-archive: trace, loss and the impulse to preserve in the anthropocene age’, Glasgow School of Art.
2014: Michael Roberts, ‘Imaging the face: an investigation into hyperrealist interpretation of the human facial surface’, Aberystwyth University.
2013: Jo Thomas, ‘Presencing place.’ Oxford Brookes University.
2010: Kate Craddock, ‘Collaboration in performance practice: trust, longevity and challenging proximity’, Department of Arts, Northumbria University.
2009: Roy Smith (MPhil), ‘Contact zones; relational encounter in contemporary fine art practice’, University for the Creative Arts.
2009: Kristin Mojsiewicz, ‘Investigating disorientation through the adaption of role play’, Edinburgh College of Art.
2007: Hyejung Yum, ‘Traditional Korean papermaking: its history, process, materials and tools used and the paper trade between Korea and China’, Fine Art Conservation, Northumbria University.
2006: Julie Bacon, ‘Recollecting the poetry and politics of archival space: an exploration of performance and installation art in the museum’, University of Ulster.
ACADEMIC PROFILE
Currently: Research Associate, Pitt Rivers Museum, University of Oxford and Research Fellow, Oxford Centre for Hindu Studies
2012-2019: Professor of Fine Art, Northumbria University, Newcastle Upon Tyne.
2005-2012: Reader in Art School Practices, Northumbria University.
2010-2012: Honorary Research Fellow, Edinburgh School of Art.
1999-2005: Senior Lecturer, Northumbria University.
1991-1995: Guest curator, Royal University Institute of Fine Art, Stockholm.
1987-1997: Visiting tutor, Central St. Martin's School of Art, London.
1988-1992: Head of Sculpture, University of Oxford, Ruskin School of Drawing.
1976-1988: Tutor in Sculpture, University of Oxford, Ruskin School of Drawing.
1971-1974: Royal College of Art (Andrew J. Lloyd Prize)
RESEARCH
2023: (forthcoming) 'We contemporise, they persist'
Book chapter. In Payne, E., Ellis, A. L. R., & Wootton, W., (eds), Ancient Plaster: casting light on a forgotten sculptural material, London: The British Academy.
2022: 'It’s Not Junk - Where Museum Archives Meet Genetic Science'
TEDx talk.https://www.youtube.com/watch?v=1nkWUFWiDiw
2022: Crisp, F., Dorsett, C., & Mackenzie, L. ’Ruptures and wrong-footings: destabilizing disciplinary cultures’
Journal article. Leonardo/ISAST, MIT Press.
2021: 'Doing harm in exhibitions'
Conference paper - video screening. ASA21 Responsibility, University of St Andrews (online).
2021: ‘Retreading the art school corridor to Cast Contemporaries’
Conference paper - video screening. Ancient Plaster: casting light on a forgotten sculptural material, British Academy, London (online).
2020: ‘Voice over: archived narratives and silent heirlooms’
Journal article. entanglements: experiments in multimodal ethnography, 3(1): pp 43-54.
2019: ‘Voice-Over: archived narratives and silent heirlooms’: an artist-curator responds to a report prepared for the United Nations Relief and Rehabilitation Administration in June 1945’
Conference paper. A presentation of work-in-progress at the Tavistock Institute’s archive, Archive-A-Live! the Tavistock Institute Annual Symposium, 6 November 2019.
2019: The Path of Śakti – India and Nepal: visual story-telling
Curatorial advisor. An exhibition of ethnographic photographs by Prema Goet held at the Oxford Centre for Hindu Studies to coincide with Śākta Traditions Symposium III. http://saktatraditions.org/sakta-traditions-symposium-iii/
2019: Rituals of Refurbishment: an introduction
Video screening. A reflection on recent audio-visual work by Dorsett & Nair presented as the inaugural session of the 2019 Visual, Material and Museum Anthropology seminar series at the Pitt Rivers Museum, Oxford University. Undertaken in the role of a Research Associate at the Museum.
2018: Hidden Treasures in Private Academic Collections
Curatorial advisor. An exhibition of Hindu objects collected by Oxford indologists curated by Iana Lukina under the supervision of Dorsett and Dr Bjarne Wernicke-Olesen. Held at the Oxford Centre for Hindu Studies as part of the Śākta Traditions Project.
2019: Ancelin-Bourguignon, A., Azambuja, R., & Dorsett, C. ‘Lost in translation? Transferring creativity insights from arts into management’
Journal article. Organization: The Critical Journal of Organization, Theory and Society, Volume 27, No. 5.
2018: ‘the train starts – it stops – it starts again’
Catalogue essay. In Christine Borland, I Say Nothing, Glasgow: Glasgow Museums. Linked to Thoughts for a journey (see below).
2018: Dorsett, C. & Nair, J. ‘Rituals of refurbishment: remembering/remediating Philip Rawson’s Tantra exhibition’
Conference paper - video screening. ASA2018: Sociality, matter, and the imagination: re-creating Anthropology, University of Oxford.
2018: Nair, J. Mudra: when hands speak
Narrator. Documentary film scripted and directed by Janaki Nair with Dorsett providing the voice-over.
2018: ’Static Art and Temporal Imaginings: thinking about Philip Rawson amidst a numinous cast collection’
Keynote conference paper. Lasting Impressions 2018, Laing Art Gallery, Newcastle upon Tyne.
2018: ‘OK this is my chosen object. Or rather it’s one of my objects’
Invited lecture. Gravity:material public lecture series, Sheffield Institute of the Arts, Sheffield Hallam University.
2017: Thoughts for a journey: a prepared text with passing discussions
Event curator. Scripted train journey from Glasgow Central Station to Glasgow Museums Resource Centre, Nitshill. Contribution to Doubtful Occasion: A creative symposium based on artist Christine Borland’s research into WW1 objects in Glasgow Museums’ collection, 5 October 2017.
2017: ‘the train starts – it stops – it starts again (effort, stasis, and the Glasgow Museums Resource Centre)’
Conference paper. Contribution to Doubtful Occasion (see above).
2017: 'Studio Ruins: describing unfinishedness'
Journal article. Studies in Material Culture.
2017: ‘On waking up, say a spell backwards’
Public event - seminar chair. Rebecca Heald with Amrita Jhaveri (curators), Thinking Tantra, Drawing Room, London.
2017: Dorsett, C. & Nair, J. ‘Waving and Drowning: at the conjunction of contemporary British and Indian responses to a song by Rabindranath Tagore’
Published conference proceedings, Équipe de Recherche Interdisciplinaire sur les Aires Culturelles, University of Rouen-Le Havre Press.
2016: ‘The pleasure of the holder: media art, museum collections and paper money’
Journal article. International Journal of Arts and Technology.
2016: Dorsett, C. & Nair, J. ‘Rawson’s Rasa: handling the taste of emotion’
Conference paper. Presenting the Theatrical Past: interplays of artefacts, discourses and practices, IFTR 2016, Stockholm University.
2016: Dorsett, C. & Nair, J. ‘Revisiting Tantra: contemporary British and Indian responses to the Tantra-oriented songs of Rabindranath Tagore’
Conference paper. Variations, Rewritings and Adaptations of the Jātaka Tales and Buddhism in India Today, SARI 2016 Annual and International Colloquium, University of Paris 13.
2015: Paper, table, wall & after
Exhibition co-curator - lead artist. External partner: Taiwan National University of Arts, Taipei. This exhibition was jointly organised with artist Sian Bowen and featured the work of 38 artists who contribute to the research and teaching activities of Paper Studio Northumbria.
2015: Dorsett, C. & Goda, S. ‘Stilling the flow of signs: creative action and the discontinuity of the museum archive’
Book chapter. In Paschalidis, G. & Yoka, L. (eds) Semiotics and Hermeneutics of the Everyday, Newcastle upon Tyne: Cambridge Scholars Publishing, pp 176-192.
2015: singlesingles
Event curator. Contribution to Record Store Day 2015. Curated conversation with musicians Andy Elison (Johns Children, Radio Stars) and Paul Harvey (Happy Refugees, Penetration). The Stand Comedy Club, Newcastle upon Tyne.
2015: Dorsett, C. & Nair, J. ‘Revisiting Tantra: a contemporary British and Indian response to the “seductiveness” of Tantric museum objects’
Conference paper. The Culture of Seduction [The Seduction of Culture], Cyprus Semiotic Association, University of Cyprus.
2015: ‘Studio Ruins: narrating “unfinishedness”’
Conference paper. Material Culture in Action: Practices of making, collecting and re-enacting art and design, Glasgow School of Art.
2014: Commute-Converse 1: curated conversations on Northern Rail commuter trains
Event curator. Genomics experts Volker Straub and David Elliott (both of the Institute of Genetic Medicine, Newcastle University) talk to James Atlee (First Great Western ‘Writer on the Train’), Margaret Stewart (curator, Edinburgh College of Art) and Shelley Trower (Department of English and Creative Writing, Roehampton University).
2014: ‘Negotiating the Icebox: cold collections, dark museums and contemporary art’
Conference paper. Art Out of Time, Institute of Visual Research, University of Oxford.
2014: ‘Museum stores, genetic junk, experimental art – conversations on a train’
Conference paper. ASA14 Decennial: Anthropology and Enlightenment, University of Edinburgh.
2014: ‘Negotiating the Icebox: cold art and cinematic darkness’
Invited lecture. Center for Computer Games Research, IT University of Copenhagen.
2013: Extraordinary Renditions: the cultural negotiation of science
Group exhibition and conference paper. BALTIC Centre for Contemporary Art (Gateshead) contribution to the 2013 British Science Festival. Co-organised with Christine Borland and Fiona Crisp. http://vimeo.com/75586281
2013: ‘At a moment’s notice: according to the pleasure of the holder: the semiotics of paper’
Keynote conference paper. DeSForM 2013, School of Digital Media, Jiangnan University, Wuxi, China.
http://desform2013.id.tue.nl/conference/keynotes/
2013: Dorsett, C. ‘Becoming an artist-in-residence: the ‘mobilities’ of Christopher Jones’
Catalogue essay. In Unmonumental – Christopher Jones, Newcastle Upon Tyne: Northern Print, pp 3-9
https://www.academia.edu/5567120/Christopher_Jones_Unmonumental_-_site-dependent_assemblages
2013: Dorsett, C. ‘Safe Houses on enchanted ground’
Catalogue essay. In Sian Bowen and Nova Zembla: Suspending the Ephemeral (Rijksmuseum), Amsterdam: Rijksmuseum in conjunction with Research Group for Artists Publications (Sheffield), pp 107-113.
2012: Cast Contemporaries
Exhibition curator - lead artist. External partner: Edinburgh School of Art. Appointed Honorary Research Fellow to curate an exhibition for the Edinburgh Festival about the recent restoration of the City’s historic plaster cast collections.
2012: 'Synaesthetic Presences: new sights from old sound objects'
Conference paper. Making Sound Objects: Cultures of hearing, Creating and Circulation, British Forum for Ethnomusicology Conference, Pitt Rivers Museum, Oxford. http://makingsoundobjects.wordpress.com/2012/11/05...
2012: Dorsett, C. Kolaiti, C. Longstaff, B. Tsuchiya, I. & Welcome, M., ‘Contemporary healthcare through the lens of the photographic arts’
Invited lecture. The Royal Photographic Society's 2012 Combined Royal Colleges Medal Lecture. Practice-led research undertaken by photographers within Northumbria University’s visual arts partnership with Northumbria Healthcare NHS Foundation Trust (1999 to the present). Royal College of Physicians, London.
2011: Dorsett, C. ‘Things and Theories: the unstable presence of exhibited objects’
Book chapter. In Dudley, S., Barnes, A. J., Binnie, J., Petrov, J., & Walklate, J. (eds) The Thing about Museums: Objects and Experience, Representation and Contestation, London and New York: Routledge.
2009: Dorsett, C., ‘Making Meaning Beyond Display’
Book chapter. In Dudley, S. (ed.) Museum Materialities: objects, engagements, interpretations, London and New York: Routledge.
2008: Dorsett, C., ‘Glimpsing the archive’
Book chapter. In Bacon, J. (ed.) Arkive City, Belfast: Interface University of Ulster & Locus+
2007: Dorsett, C., ‘Exhibitions and their Prerequisites’
Book chapter. In Rugg, J. & Sedgwick, M. (eds), Issues in Curating: Contemporary Art and Performance, Bristol and Chicago: Intellect Books and University of Chicago Press.
PHD THESES SUPERVISED TO COMPLETION
2020: Janaki Nair, 'Intertwining Hands: revisiting the South Indian performative experience'.
2019: Alysia Trackim, ‘Complicated Grief: How Orphanhood drives practice-based research of an artist-in-mourning’.
2019: Paul Dolan (co-supervisor), ‘Reality Engines: A practice based exploration of appropriation strategies in Game Art’.
2018: Clare Money (co-supervisor), ‘X Marks the Spot: triggering experience X through a visual arts practice.’
2018: Paul Goodfellow, 'Art as a Distributed Ecosystem: mapping the limits of systems-based art.'
2018: Daksha Patel (co-supervisor), 'The Concept of Noise in Medical Visualisations Perceived Through a Contemporary Drawing Practice.'
2017: Nicola Singh, ‘On the ‘Thesis by Performance’: a feminist research method for a practice-based PhD’ (AHRC BGP studentship).
2016: Jacqueline Donachie, ‘Illuminating Loss: a study of the capacity for artistic practice to shape research and care in the field of inherited genetic illness’ (AHRC BGP studentship. AHRC Anniversary Research in Film Awards winner 2015).
2016: Kate Liston (co-supervisor), ‘Link Zone: an exploration of the sensation of knowledge through a practice of art and writing’. (AHRC BGP studentship).
2015: Brian Fay (co-supervisor), ‘Models of Temporality in Drawing and the Museum’.
2015: Jacob Krukar (co-supervisor), 'The Influence of Museums' Spatial Layout on Human Attention and Memory for an Art Exhibition'.
2014: Agnieszka Kozlowska (co-supervisor), ‘Taking Photographs Beyond the Visual: paper as a material signifier in photographic indexicality’.
2012: Alexandra Rowe, ‘Communicating Pain: can physical pain and the associated psychological effects, be communicated and understood through art?’ (AHRC doctoral scholarship)
2012: Paul Harvey, ‘Stuckism, Punk Attitude and Fine Art Practice: parallels and similarities’ (AHRC doctoral scholarship).
2011: Poyan Yee, ‘Healing Through Curatorial Dialogue: an investigation into the role of contemporary curatorial practice in a healthcare setting.’ (Northumbria University studentship in conjunction with Northumbria Healthcare NHS Foundation Trust).
2011: Sachiyo Goda, ‘An Investigation into Japanese Notions of Space and Time: practising “ma” through the process of making sculpture.’
2011: John Lavell. ‘Is there an analogous relationship between the creative process and forensic methodology?’ (AHRC doctoral scholarship).
2011: Andrew McNiven (co-supervisor), ‘"Monkey Business": an artist's action research into the parameters of temporary installation through reflexive formal and informal documentary practice.’ (AHRC doctoral scholarship).
2010: Sulien Hsieh, Buddhist Meditation as Art Practice: Art Practice as Buddhist Meditation,
2009: Nickos Kabitsis. ‘Sculpture and Health: new views on schizophrenia’.
2010: Hiroko Oshima (co-supervisor), ‘Artists’ Groups in Japan and the UK and their impact on the creative individual.’
2009: Ikuko Tsuchiya, (MPhil) ‘Therapeutic Touch: the use of photo-based methodology as a healing practice within the context of healthcare.’
2009: Jolande Bosch, ‘The Strategic Studio: how to access and assess decision-making in visual art practice.’ (AHRC doctoral scholarship).
2009: Christina Kolaiti (co-supervisor), ‘The Influence of the Photographic Narrative in Healthcare Dialogue.’ (AHRC New Collaborations Award, Northumbria Healthcare NHS Foundation Trust and Northumbria University).
2007: Thitinam Boonpap (co-supervisor), ‘Popular Television and the Construction of Contemporary Thai Cultural Identity.’
2006: Apichart Pholprasert. ‘The Rural-Based Artist: an investigation into the creative processes by which artists have rejected the metropolitan context of contemporary art.’
2004: Henna Asikainen. ‘Art, Nature and Environmental Aesthetics’
2003: Silvana Macedo, ‘From Fine Art to Natural Science through Allegory’
2003: Caroline Mercier (co-supervisor), ‘Designing Theatrical Costumes in Collaboration: a contribution to theatre’.
RESEARCH DEGREES EXAMINER
2021: Alexandra Hughes. ‘Wilding Photographs: exploring the turbulent and affective qualities of the material phenomenon of photography’. Northumbria University.
2019: Helen Collard. 'Finding Prana: digital and performative experiments in search of a technology of the self'. Northumbria University.
2019: Louise O’Hare. ‘Centrefold 1974: a memoir, 2019’. Northumbria University.
2019: Alexandra Hughes. ‘Wilding Photographs: exploring the turbulent and affective qualities of the material phenomenon of photography’. Northumbria University.
2019: James Hutchinson. ‘Resorption: working (in) the gap between artistic and curatorial production’. Glasgow School of Art.
2018: Louise Mackenzie. ‘Evolution of the Subject: synthetic biology in fine art practice’. Northumbria University.
2018: Clare Stephenson. ‘Girl gets drunk and goes swimming: a shift in means for the female sculptor’. Northumbria University.
2018: Judit Bodor. 'Exhibiting The Ivor Davies Archive of Destruction (in) Art: an exploration of curatorial processes in presenting historical performance art in the Museum, through observation, case studies and practice'. Aberystwyth University.
2017: Jenny Duffy. ‘Making Theatre as an Emerging Company: exposing trends, tactics, strategies and constraints’, Department of Arts, Northumbria University.
2016: Andrew Sneddon. ‘Confusions of Meanings in the Concept of Place: an investigation into the role place occupies in influencing the production and reception of the artwork’. Edinburgh College of Art.
2015: Aya Kasai. ‘Ma in relation to Gen’, Oxford Brookes University.
2015: Camilla Nock. ‘Reanimating the wound: dermatilliomanic practice and the First World War’, University of Plymouth.
2014: Joanne Clements, ‘Adapted orphans and protected histories: time-based media and the moving image archive’, University of Salford.
2014: Edwina fitzPatrick, ‘Artists’ geographies of the landscape-archive: trace, loss and the impulse to preserve in the anthropocene age’, Glasgow School of Art.
2014: Michael Roberts, ‘Imaging the face: an investigation into hyperrealist interpretation of the human facial surface’, Aberystwyth University.
2013: Jo Thomas, ‘Presencing place.’ Oxford Brookes University.
2010: Kate Craddock, ‘Collaboration in performance practice: trust, longevity and challenging proximity’, Department of Arts, Northumbria University.
2009: Roy Smith (MPhil), ‘Contact zones; relational encounter in contemporary fine art practice’, University for the Creative Arts.
2009: Kristin Mojsiewicz, ‘Investigating disorientation through the adaption of role play’, Edinburgh College of Art.
2007: Hyejung Yum, ‘Traditional Korean papermaking: its history, process, materials and tools used and the paper trade between Korea and China’, Fine Art Conservation, Northumbria University.
2006: Julie Bacon, ‘Recollecting the poetry and politics of archival space: an exploration of performance and installation art in the museum’, University of Ulster.
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