Disability and Neurodiversity at UCL History of Art
Supporting disabled people is central to UCL History of Art's commitment to fostering an inclusive and accessible environment for all.
This page includes information for disabled people and those who support them. We are always looking for feedback as to how we can improve the experience and information available to staff, students and visitors related to disability at UCL History of Art. Please get in touch with the EDI Committee Chair if you have any feedback.
Support and Resources at UCL
- Disability Discrimination Faced by UCL Students and Recommended Measures - Students’ Union UCL.
- Disability Equality at UCL - Office of the President and Provost (Equality, Diversity, and Inclusion).
External Support and Resources
- British Dyslexia Association.
- Disability Justice - Provides guides, including letter-writing templates, on responding to disability discrimination.
- Mental Health at Work - Toolkits and other resources.
- Mentally Healthy Universities - Pilot campaign from Mind.
- Neurodiversity at work - Includes CIPD’s report (PDF).
- Transport Accessibility - Transport for London.
Self-Education Resources
- Social model of disability - From Scope.
- Unlearning Ableism - Discussion series, with recordings and transcripts, from the University of Illinois at Chicago.
Disability and Neurodiversity in Art Resources
- Tate: Disability & Art
- Shape Arts website and Event Calendar - Shape Arts is is a disability-led arts organisation
- Disability Arts Online website - Disability Arts Online is an organisation led by disabled people, set up to advance disability arts and culture through the pages of their journal.
Learn more about our banner image…
Lorina Bulwer, Sampler, Great Yarmouth Workhouse, circa 1901, Norfolk Museums Service, Costume and Textile Collection, 2004.824.1+2
“There were disabled artists in the past. There are disabled artists in the future. Lorina Bulwer embroidered her agency and rage as a disabled woman and incarcerated artist confined to the ‘lunatic ward’ of Great Yarmouth Workhouse for two decades at the turn of the twentieth century. Experimenting with the medium of the sampler, Bulwer created densely textual artworks spanning some twelve to fourteen feet. Contemporary artist Dolly Sen has described these works as “embroidered furies.” Sen’s own writing and art engages in disability discourse with Bulwer across time, creating networks of disabled kin through grave cleaning and reckoning with medical establishment ableism. Using offcut materials from the workhouse where she was forced to labour, Bulwer’s art insists we centre disabled lived experience and intersectionality in our work as art historians. Bulwer was both a visual artist and a writer speaking in thread: a foremother to the growing acknowledgement of disabled artists and art historians who have and continue to shape our discipline.”
