STIP: PhD Scholarship in 21st Century Art in London

Gasworks & London South Bank University

Application deadline: Jun 20, 2018

Transnational Art Practices and Online Networks in the 21st Century

This is a three-year, EU/UK only funded, full-time PhD scholarship. Collaborating partners: Gasworks, CSNI (The Centre for the Study of the Networked Image) and RCA (Royal College of Art).

The selected candidate will undertake a three-year research project, with either a practice-based or discursive-based methodology, involving situated practice at Gasworks, leading to the submission of a thesis/portfolio submission in 2021.

Project Description

This doctoral research post will consider how artists and curators in art residency programmes are engaging with and being shaped by 21st century global conditions of mobility and communication, by asking how artistic and curatorial practices are interacting with new online networked practices to create transnational networks of global association and diverse collectivities. Centrally the research is keen to explore the potential of new relationships opened up by online art and curatorial practices as well as the deployment of online communication in International partnerships.

The research will bring to light the ways in which networks create new forms of transnational cultural value through a detailed examination of the innovative working relationships between international artists, curators, art organisations working within embedded urban geographies and online. The aim of the research is to support Gasworks achieve a greater understanding of its present practices and to inform Gasworks present trajectory and future strategies.

The objectives of the research are:

  • To critically evaluate Gasworks’ Triangle international art network
  • To work with artists, theorists, curators and technologists on modelling open and cooperative networks for contemporary transnational art
  • To understand the relationship between transnational art practices and contemporary urban culture

Potential questions include:

  • How might online curating relate to Gasworks’ commissioning processes and how could online networks bring new practices to light?
  • What can be learned from Gasworks’ international network of arts organisations as a contribution to the public arts field and how might it impact upon wider public arts policy and practice?
  • What is the significance of London for the growth of contemporary transnational art practices?
  • How is Gasworks’ international art programme relevant to the everyday experience of the city?

Please contact Andrew Dewdney on if you have any questions or visit the link below.

To apply, please visit UK Pass and select LSBU (code L75), then code P052639 for this PhD selecting the 36 month, full time option. Please quote reference PGR014 along with the title of the PhD and your research proposal on the Supplementary Question section, box 4.

Further Details:

Reference: STIP: PhD Scholarship in 21st Century Art in London. In:, Jun 9, 2018. <>.

CFP: Changing Hands: When Art History Meets the Art Market, TIAMSA CAA 2018

Changing Hands: When Art History Meets the Art Market

Through case studies, this session proposes to consider how the art market has adapted, expanded and at times significantly clashed with modern and contemporary art practices as artworks have changed hands.  Papers should illuminate how issues relating to fabrication, re-fabrication and conservation have challenged traditional conceptions of authenticity and authorship, redefined connoisseurship and set precedents for both institutional and private collectors.
We hope that papers will also attempt to assess how the art market may have affected these issues.

  • Under what conditions have artists disavowed works, for example Donald Judd’s renunciation of works fabricated by Giuseppe Panza, Cady Noland’s disavowal of Cowboys Milking and Log Cabin and Bruce Connor’s disavowal and subsequent reinstatement of CHILD?
  • Conversely, how have artists maintained authorship over multiple versions or remakes of their work as they have been sold? How has the unprecedented presence of living artists in the market changed and challenged the marketplace?

This session encourages papers reflecting a variety of perspectives, including but not limited to art historians, conservators, visual arts lawyers, collectors, dealers, curators and artists. It will also provide a forum for discussion of the intersection of theory and practice, as disconnects between them are often illuminated as art changes hands.

See the call for participation (.pdf).

Your proposal should be emailed to Véronique Chagnon-Burke (VChagnon-Burke(at) and Julie Reiss (JReiss(at)
Papers are due by August 14, 2017.