Gabriella Hirst is an artist exploring the place of intimacy and the personal within the institutional. She is interested in the labour involved in the upkeep of illusions of permanence, with specific reference to gardening, art conservation and archive maintenance. Working across video, performance, ceramics, sound and poetry, she is inspired by cinematic tropes, slapstick routines and romantic clichés. She was shortlisted for the Ivan Juritz Prize in 2018.
From Thursday 16th May to Sunday 19th May The Store X Gallery at 180 The Strand will be hosting FOUND: A Harold Feinstein Exhibition , the UK’s first ever exhibition of the legendary, 20th century American photographer Harold Feinstein. The exhibition is accompanied by screenings at the Curzon DocHouse of Andy Dunn’s film Last Stop Coney Island: The Life and Photography of Harold Feinstein.
Dr. Michael Collins, Senior Lecturer in Twentieth-Century American Literature and Culture in The School of English, chatted with the curator Carrie Scott about Feinstein’s work and legacy, American photography at mid-century, and the place of optimism in art.
Susan Bennett is University Professor in the Department of English, University of Calgary, Canada. She is widely published across a variety of topics in theatre and performance studies, including Theatre Audiences (1997), Theatre & Museums (2013) and Sound (2019).
Sonia Massai is Professor of Shakespeare Studies at King’s College London, UK. She has published widely on the history of the transmission of Shakespeare in print and in performance. She is currently working on a new book on Shakespeare’s Accents: Voicing Identity in Performance and preparing a new edition of Richard III for the Arden Shakespeare.
When asked “What is politics?,” director Ivo van Hove’s answer is straightforward and uncompromising: “Politics is the antithesis of absolute truth.”
Fiona Anderson is a Lecturer in Art History in the Fine Art department at Newcastle. Her work explores queer social and sexual cultures and art from the 1970s to the present with a particular focus on cruising cultures, the HIV and AIDS crisis, queer world making practices, and the politics of urban space. Here, Fiona speaks to Mark Turner about her new book, Cruising the Dead River: David Wojnarowicz and New York’s Ruined Waterfront (University of Chicago Press, 2019).
Mark Turner is a Professor of Nineteenth and Twentieth-Century Literature in the English Department at King’s. He is the author of Trollope and the Magazines (2000), Backward Glances: Cruising the Queer Streets of New York and London (2003), and recently co-edited, with John Stokes, a major new edition of Oscar Wilde’s journalism for Oxford University Press. He has written about queer urban cultures and curated ‘Derek Jarman: Pandemonium’ at Somerset House in 2014. Mark is currently working on a project about the American gallerist Betty Parsons and her queer artists, particularly Forrest Bess. He co-founded the Queer@King’s research centre with colleagues in Arts and Humanities in 2003-4.
Katie Arthur is a PhD student in English at King’s researching the relationship between queerness and obscenity in the works of William Burroughs and John Waters.
by Rob Gallagher, postdoctoral researcher with Ego-Media
“I was photographed three times a week[,] for which I received a settled income…
Two famous dressmakers, one in London and one in Paris, dressed me for nothing, and a famous English designer called her models after me and made my clothes at a very nominal fee…
My picture advertised all sorts of wares, and face creams and soaps, and I gave advice in all the papers on how to keep healthy and beautiful and young. If I had followed the regime I laid down, I could never have finished in the twenty-four hours…”
So writes Constance Collier in her 1929 memoir Harlequinade, reflecting on her time as a ‘Gaiety girl’ on the 1890s Strand. On 8 February, I’ll be talking about Collier as part of an event at the London Transport Museum, themed around London love stories, representing the Centre for Life-Writing Research’s Strandlines project (an online archive of stories about ‘life on the Strand, past, present and creative’ – do contribute if you haven’t already…). I’ll be describing how Collier and her co-stars won the hearts of late Victorian Londoners with a series of racily contemporary ‘musical comedies’ combining cutting-edge fashions, romantic spins on everyday scenarios and saucy/sentimental songs. Pitched somewhere between ‘legitimate’ theatre and burlesque, musical comedies turned Gaiety impresario George Edwardes into a very rich man and many of his ‘girls’ into household names. Continue reading Reinventing Stardom on the Strand
by Clare Birchall, Reader in Contemporary Culture, Department of English
It’s not often, as a theorist, that I have the opportunity to watch my ideas come to life. When the King’s Digital Lab offered to fund a workshop to explore how its designers and engineers might help me to build a digital tool that can enact what I call ‘radical transparency’, I naturally jumped at the chance. In contrast to weak forms of transparency implemented by some public and private bodies that offer the public access to certain data in lieu of political commitment as well as responsibility without power, I envisage radical transparency as processes that would offer meaningful, political and contextualised information and data that promote experiences of political agency for digital users.
As well as the team at King’s Digital Lab, I wanted to draw together artists, computer scientists and other digital theorists to think through the ethical protocols as well as practical possibilities of any form radical transparency might take.
Paul Gilroy, Professor of American and English Literature at King’s, was elected as a member of the American Academy of Arts and Sciences in April 2018 – a prestigious recognition of his work as a cultural historian, critical race theorist and thinker who has shaped black diaspora studies. Founded in 1780, the Academy has a stellar list of former members including Benjamin Franklin (1781), Charles Darwin (1874), Albert Einstein (1924) and Martin Luther King, Jr (1966). Here, Paul speaks to PhD researcher Rachel Bolle-Debessay about receiving this award.
Rachel Bolle-Debessay (RBD): Thanks so much for talking to us, Paul! Our trigger for this interview was your election as a member of the American Academy of Arts and Sciences. So could you begin at this point – what does this mean for you and the nature of the scholarship that you undertake?
Paul Gilroy (PG): I was humbled and amazed. I’d say that being taken seriously is the best feeling an academic can have. I worked in the US for some years and one of my responsibilities as a teacher and researcher lay in the field of African American Studies. As an outsider, I faced a significant amount of hostility especially when my work was perceived as interrupting the standard cultural nationalist approaches that have defined that enterprise.
So this award cheered me up. It made me feel that in spite of the antipathy I had endured, the work I’d done had acquired its own life and some people had found it useful. It’s absolutely fine if they use it as something to disagree with and sharpen their intellectual claws upon. It makes me feel that I haven’t wasted my time.
by Clare Birchall, Department of English
The words “Trump” and “transparency” don’t often appear together. Administrative transparency isn’t something Trump promised during his campaign, and it hasn’t been on the agenda in the last year. Yet the term has begun to turn up recently in communications from the Trump camp.
In July, referring to the Commission on Election Integrity, Trump claimed that the “voter fraud panel”, as he called it, would be a “very transparent process . . . very open for everybody to see.” The American Civil Liberties Union begs to differ. It has lodged a legal complaint stating that the commission has violated “the non-discretionary transparency and public access requirements” of the Federal Advisory Committee Act by holding “its first meeting without public notice; without making that meeting open to the public; and without timely notice in the Federal Register.” Trump also used the word “transparent” to describe his eldest son’s response to accusations that he had failed to disclose meetings with Russians during the presidential campaign.
On July 12, 2017, @RealDonaldTrump tweeted: “My son Donald did a good job last night. He was open, transparent and innocent. This is the greatest Witch Hunt in political history. Sad!”
These examples suggest that Trump hasn’t fully understood – or has wilfully misunderstood – the meaning of transparency and what it would take, in practice, to achieve it.
On 28 September 2017, the Centre for Humanities and Health brought together a collection of healthcare practitioners, literary scholars, journal editors, teachers and anthropologists at St. Bride’s Foundation off Fleet Street to discuss ambiguities and paradoxes in clinical practice. Because of my research, I spend a lot of my time thinking about ambiguity as it pertains to the experience of being ill, but I rarely get such an opportunity to consider it from the other side—how ambiguity haunts and energises the mechanisms of medical institutions and desires. Continue reading Ambiguities and paradoxes in clinical practice
“Teachers and students produce, reinforce, recreate, resist, and transform ideas about race, gender, and difference in the classroom.” – Chandra Talpade Mohanty, ‘On Race and Voice: Challenges for Liberal Education in the 1990s’, 1989
“Provoking students to think, really think, is one of the reasons we have universities in the first place.” – Stefan Collini, Guardian opinion piece ‘Brexit witch-hunt against universities reveals the right’s paranoid thinking’, 31 October 2017
In 2016, Oxford Dictionaries selected ‘post-truth’ as its international word of the year. This November, Collins Dictionary chose the term ‘fake news’ as word of the year for 2017 from a shortlist featuring ‘echo chamber’, ‘antifa’, and ‘Corbynmania’. The head of language content at Collins explained that “much of this year’s list is definitely politically charged, but with a new president in the US and a snap election in the UK, it is perhaps no surprise that politics continues to electrify the language.”
It is clear that the swing to the far-right in the US and the UK has come to dominate the basic language through which we understand our political reality. The urgency that these developments lend to current research in literature and language – and across the humanities broadly – was the subject of a meeting of the King’s research cluster ‘Colonial, Postcolonial and Transnational Cultures’ earlier this year.
Comprising academic staff and postgraduate researchers from the English and Comparative Literature Departments, this cluster is organised around three overarching themes: the ‘coloniality’ of language; spatiality and geographies; and the ways in which violence, brutality, atrocity or torture might condition our research projects.
What does it mean, to be ‘more political’…?