UoA 63: The Slade School of Fine Art

The Slade School of Fine Art, UCL, is a small, specialist school concerned with contemporary art and the practice, history and theories that inform it. Within a fine art context four subject areas characterize the Slade’s intellectual infrastructure, generating specific research initiatives and enabling cross-area discourse and development. The Slade is committed to supporting and developing research in and across these subject areas and engaging with the wider research community nationally and internationally.

There are six professors, one reader, three senior lecturers, twenty-one lecturers and one AHRC research fellow (total 19.2fte). Many staff are part-time which enables a wide breadth of expertise and research. Staff are very experienced in research and teaching, the majority having been submitted for the RAE throughout their careers at UCL. Those who have more recently entered an academic career also have substantial research outputs. Four 0.4fte and one 0.5fte staff have been recruited within a year of the census date. These are strategic appointments of mid-career researchers with international research records that enhance the depth and diversity of the Slade’s research culture. Strategic planning for research development in the School takes into account appointing replacements for five retirements in the next three years. The MPhil/PhD programme was established in the early 1990s and its students are now an integral part of the Slade’s research community and the broader UCL environment.

Fine Art Media embraces multiple processes in print, analogue and digital photography, film, video, and electronic media. Collins’ research employs transmission, networking and time as primary materials, exploring the role of illusion or belief through construction and interpretation. Faithfull’s work explores the extremities of the world and their relation to the everyday. Goodwin explores the physical and emotional dynamics of environments and interaction between people and qualities of time and space. Head uses digital imaging as pictorial compositions and explores digital media and its inherent physicality. Hilliard addresses the specificity of photography as a medium, its uncertainty as a representational device and its status within the visual arts. Kerbel’s Fellowship, The Aesthetics of Transition, considers the status of drawing in relation to its history as a preliminary or transitional medium. Masi researches notions of power, particularly social capital, manifested through photographic portrait, the document and its presentation and dissemination. Morris researches the relation between word and image, especially spoken poetry and projection. Parker’s research concerns the relation between 16mm film, photography, contemporary music and performance. Thomson (of Thomson & Craighead) works primarily with video, sound and electronic, networked spaces.

Painting investigates the position of painting, intellectually, formally and aesthetically. Bright uses romanticised imagery, pictorial landscape and paint substitutes to investigate the significance of colour and landscape. Davies recontextualises recent art history through the production of paintings using text, pattern and colour. McLean challenges existing forms of painting and sculpture, using architectural space to develop image-making and pictorialisation and investigates the role of colour in sculptural forms. Rideal’s work spans various media, investigating repetition, landscape and figuration through the pictorial translation of digital processes. Stahl investigates cultural difference using pictorial language, imagination, figuration, pattern and decoration. Thompson investigates visual, perceptual and pictorial issues focused on abstraction, colour and surface. Woodley uses many three-dimensional media to investigate the relationship between drawing, virtual volumes and architectural space.

Sculpture focuses on sculpture as a multi-disciplinary activity. Aiken’s research investigates the development and placement of autonomous objects in architectural space and urban environments. Allington’s research explores the sculptural object as image, particularly the duplicity of the copied and reproduced object. Counsell uses minimalist structures, interacting with the particular spatial qualities of locations. Lomax focuses on traditional sculptural processes and adaptations of these through computer-generated technologies. Barlow’s research sits between painting and sculpture and explores how the painted surface disrupts the physicality of the work and emphasises ephermerality, impermanency and transformation. Lowe works with a variety of media to investigate the image and its status as an object. Patterson’s research extends from object and text-based works into the area of live performance, developed from his earlier systems-based work. Rothschild works with a range of materials to investigate myths of the spiritual in the contemporary world. Ruggaber uses contrasting relationships to investigate materiality, texture, process and context. Stevens investigates the relationship between durational and static media within live art and video.

History and Theory of Art is concerned with the relationship between theory, history and practice. Florence engages with new paradigms in contemporary art and its thought, working through materiality and contiguity including the visual deployment of language in art. Godfrey researches 20thC and contemporary art, with particular attention to post-war American art and recent photographic and film practices. Malik investigates psychoanalysis, art practice and the legacy of identity politics. Sleeman researches British 20thC and contemporary sculpture, landscape and land art and relationships between sculpture and words.

Download full text of the RA5a statement for Fine Art (pdf 104Kb)

Staff names below link to submitted publications:

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Page last modified on 20 jan 08 12:54