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To view contents of volumes, click below

volume 40, July 2017
Ends and Beginnings

volume 39, Jan 2017
Organising/ Organisations

volume 38, July 2016
Polemics / Contestations

volume 37, Jan 2016
SOUND?NOISE!VOICE!

volume 36, July 2015
Humour

volume 35, Jan 2015
War/Conflict

volume 34, July 2014
Lessons from History

volume 33, Jan 2014
Religion

volume 32, July 2013
Citizenship

volume 31, Jan 2013
Africa and its Diasporas

volume 30, July 2012
Feminist Aesthetics

volume 29, Jan 2012
Trans-Asia

volume 28, July 2011
Bio-politics

volume 27, Jan 2011
Women's Work

volume 26, July 2010
Feminist Pedagogies

volume 25, Jan 2010
Pleasure

volume 24, July 2009
Material Histories

volume 23, Jan 2009
Art Activism

volume 22, July 2008
Incidental

volume 21,Jan 2008
Violence

volume 20, July 2007
Translate/Narrate

volume 19, Jan 2007
IN/difference

volume 18, July 2006
Curatorial Strategies

volume 17, Jan 2006
Journeys

volume 16, July 2005
Families/Homilies

volume 15, Jan 2005
Scientific Ethics/Aesthetics

volume 14, July 2004
Dreams of the Future

volume 13, Jan 2004
Domestic Politics

volume 12, July 2003
Out of Order

volume 11, Jan 2003
Identity Mechanisms

volume 10, July 2002
Rethinking Revolution

volume 9, Jan 2002
(Eco)Logical

volume 8, July 2001
Economies/Exchanges

volume 7, Jan 2001
Urban Fictions

volume 6, July 2000
Desire and the Gaze

volume 5, Jan 2000
About Time

volume 4, July 1999
Sculpture/Installation

volume 3, Jan 1999
Body, Space and Memory

volume 2, July 1998
Women and New Media

volume 1, Jan 1998
Feminism/Postfeminism

About Katy Deepwell: Editor

n.paradoxa
international feminist art journal

Katy Deepwell is an art critic and lecturer, based in London.
She founded n.paradoxa online in December 1996 and established the printed version as a biannual publication in January 1998, published by KT press.

Follow the links below to find out more information on her work over recent years in :-
Teaching and Education, Publications: Books, Essays in books, Articles, Conference Papers, Guest Lectures

To contact the editor, email : katy@ktpress.co.uk
or write to : 38 Bellot Street, East Greenwich, London SE10 0AQ, England.
Tel/Fax +44 (0)20 8858 3331

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Teaching and Education

Katy Deepwell is Professor of Contemporary Art, Theory and Criticism at Middlesex University (2013-present).

Katy Deepwell was Reader in Contemporary Art, Theory and Criticism and Head of Research Training for the University of the Arts, London (September 2004 - September 2010). Sept 2008-June 2009, she was on research leave as a Leverhulme Research Fellow.

Katy Deepwell wrote her PhD on 'Women Artists in Britain between the Two World Wars' (London, Birkbeck College, 1991). Her PhD research was published as 'Women Artists between the Two World Wars' (Manchester University Press, 2010). Her MA is in the Social History of Art (Leeds University, 1986) and her BA (Hons) in Fine Art (Painting) (St Martins School of Art and Design, 1985).

She was Post-Doctoral Research Fellow in Fine Art at University of Ulster, Belfast, November 1999-January 2003. She has worked as a lecturer in art theory and twentieth century art history at a number of different colleges in Britain: Oxford-Brookes University (1995-1996 & 1997-1998); Goldsmiths' College (1989-1995); West Surrey College of Art and Design (1993); Kent Institute of Art and Design (1986-1992) and at the Art History Dept, University of Copenhagen (Oct-Nov 1998).

She was Chair of the Executive Committee at Women's Art Library, 1990-1994. From 1997-2000, she was President of the British Section of the International Art Critics Association (AICA), a UNESCO non-governmental organisation. 2001-2013, she was in the Irish Section of AICA, and after 2013, she rejoined the British Section.

In 2021, she was awarded the Distinguished Feminist Scholar award by College Art Assocation. She has been critic-in-residence at Irish Museum of Modern Art, Dublin (July/August,1999); Nordic Art Centre, Suomenlinna, Finland (August 2000); and for 2 months at Die Hoege, Germany (2003). From April 2004-March 2006, she was an International Advisory Board Member for Museum of Contemporary Art, Kumamoto (CAMK) in Japan.

About her work as Editor:
‘HANA JANEČKOVÁ  'Katy Deepwell: Pokud chcete udělat něco radikálního, tak přestanete' Flash Art Czech & Slovak Edition, No. 50, Volume XIV, December 2018 – February 2019
‘Interview by Klara Pelouskova, Art Talk, (online art journal), Czech Republic http://artalk.cz/2018/06/11/katy-deepwell-feminismus-neni-jen-jeden/ ‘Feminist Critique: Open and Critical Enquiry: A Conversation between Katy Deepwell and Suzana Milevska’ in Spaces for Criticism (eds. Pascal Gielen, Thijs Lijster, Suzana Milevska, Ruth Sonderegger) (Amsterdam: Valiz publishers, 2015) pp.171-192.
and 'Cada geracao reinvita sua propria versao do feminismo. Conversa com Katy Deepwell' by Fernanda Grigolin (interview in Portugese and English) Jornal de Borda 3 (Sao Paulo, 2016)
and
'Working Notes: Conversation with Katy Deepwell' Maureen Connor and Katy Deepwell Art Journal Vol. 61, No. 2 (Summer, 2002), pp. 32-43

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Katy Deepwell : Publications : Books

• Editor 50 Feminist Art Manifestos (KT press, ebook, 2022) 168 pages, 50 feminist art manifestos from 1965-present, from many countries
• Editor Feminist Art Activisms and Artivisms (Valiz, March 2020)
• (co-edited with Agata Jakubowska)All Women Art Spaces in Europe in the long 1970s.(Liverpool University Press, 2018)
• Editor Feminist Art Manifestos: An Anthology (KT press, ebook, 2014) 132 pages, 35 feminist art manifestos from 1969-present
• Women Artists Between the Wars: 'A Fair Field and No Favour' (Manchester University Press, 2010) a study of women artists in Britain between 1918-1945
• Dialogues: Women Artists from Ireland (an anthology of 16 interviews, London: IB Tauris, 2005)
• (co-edited with Mila Bredikhina) Gendinaya, theori, iskusstva anthologi, 1970-2000 (Moscow: Rosspen Publishing House, 2005, an anthology of 27 texts translated for the first time in Russian).
• Editor, introduction & essay Women Artists and Modernism An anthology of 11 new essays on women artists in the twentieth century, focusing on different approaches to feminist methodologies. (Manchester University Press, 1998).
• Editor Africa and Art Criticism: Nigeria, Zimbabwe & South Africa Papers from 1996 AICA conference. Eastern Art Report monograph series, (Saffron Books/EAR, 1997).
• Editor (& introductory essay) of New Feminist Art Criticism: Critical Strategies, Manchester University Press, 1995. (Spanish edition, Nueva Critica Feminista de Arte, Universidad Valencia, Cathedra, 1998)
• Ten Decades: The Careers of Ten Women Artists born 1897-1906 Exhibition Catalogue of Arts' Council Touring Exhibition, Norwich Gallery, NIAD, April 1992 (Tour 1992: Morley College, London & Howard Gardens Gallery, CIAD)

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Essays in Books

• ‘Dentro y contra la latusa: la problemática de las mujeres artistas en las historias del arte / In and Against the lathouse: the problematic for women artists in art histories’ in Concepción Cortés Zulueta et al. (ed) Yo somos otras: Prácticas de la subjetividad en la creación contemporánea (Universidad de Granada, 2022) ISBN: 978-84--338--68-2 (Spanish text) pp.23-56.
• ‘Pourquoi 1989? Ecrire sur le feminisme, l’art et le “contemporain global”/‘Why 1989? Writing about feminism, art and “the global contemporary”’ in Elvan Zabunyan et al, Constellations Subjectivités. Pour une Histoire Féministes de L'Art (France: éditions iXe, 2020) pp.64-85. ISBN: 979-10-90032-51-1, following conference (University of Rennes II, 8-10 April 2015)
• ‘Art Criticism and Africa: AICA Conference at the Courtauld Institute, London, 1996’ in Jean-Marc Poinsot and Henry Meyric Hughes (eds) A Celebration of AICA’s 70th Anniversary / Une Célébration du 70ème anniversaire de l’AICA: 1949-50 – 2019-20. The Histories of AICA, continued (online publication on AICA International website, 25 September 2019. https://aica-international.squarespace.com
• ‘n.paradoxa’s MOOC (mass open online course): A case study in feminist online pedagogies’ for Gail Crimmins (ed) Strategies for Resisting Sexism in the Academy : Higher Education, Gender and Neoliberalism (Series: Palgrave Studies in Gender and Education: forthcoming, 2019)
• ‘Feminist contributions to artworks in Slide-Tape’ in Mo White (ed) Slide-Tape (UK: Vivid Projects, forthcoming 2018) 
• ‘Women Artists in/out of Vorticism’ in G. Berghaus (ed) International Yearbook of Futurism Studies (2015) ISBN: 978-3-11-040850-8 pp. 21-43
• ‘We don’t need another heroine: Sanja Ivekovic’s Counter-Narratives’ in Helena Reckitt (ed) Sanja Ivekovic: Unknown Heroine - A Reader (London: Calvert 22 Foundation, 2013) ISBN: 978-0-9569628-9-8 pp.110-133
• ‘Beatrice Cussol: Feminist, not feminine’ in Mia Sundberg (ed) Beatrice Cussol: Rude Girls (Stockholm: Art and Theory/SpritMuseum, 2013) ISBN: 978-91-980874-3-7 pp.35-45
• 'Questioning the gender order: feminist interventions in aesthetics and cultural politics' Artistic Production and the Feminist Theory of Art: New Debates 3 (Vitoria-Gasteiz: Centro Cultural Montehermoso, 2011)
• Claims for a Feminist Politics in Painting’ in Anne Ring Petersen (et al, eds.) Contemporary Painting in Context (University of Copenhagen, Novo Nordisk Foundation, 2009) pp.139-160
• ‘Cooling out on Post-Feminism’ in Sabine Schaschl, Bettina Steinbrugge, and Rene Zechlin (eds) Cooling Out – On the Paradox of Feminism (Zurich: JRP Ringier, 2008) (English, pp.74-83, German pp.248-257)
• ‘Mehr also sieben dringender Fragen zum Feminismus’ in Gisela Weimann (ed.) Geteilte Zeit: Fragen und Antworten (Weimar, Edition Eselsweg, 2008). Text in German and English. pp.237-243. Republished as ‘More than seven urgent questions for feminism’ online in English in n.paradoxa issue 20, April 2008.
•  ‘Women War Artists in the First World War in Britain’ in Karen Brown (ed) Agency and Mediation amongst Women Artists between the Wars (Ashgate Press, 2008) pp.11-36
• ‘Feminist Models: Now and in the Future’ in It’s Time for Action (There’s No Option) About Feminism Migros Museum (Zurich/ JRP Ringier Kunstverlag, 2007) German pp.43-63, English pp.190-208.
• ‘Issues in Feminist Curation: Strategies and Practices’ in Janet Marstine (ed) An Introduction to New Museum Theory (USA: Blackwells, 2006) ISBN:1-4051-0558-5 pp.64-84.
• 'Défier l'indifférence a la différence: les paradoxes de la critique d'art féministe' in Pierre-Henry Frangne & Jean-Marc Poinsot (eds) L'Invention de Critique D'Art  (France: Presses Universitaries de Rennes, 2002, text in French) ISBN: 2-86847-660-0 pp.191-205.
• ‘Women, Representation and Speculations on the End of History ’Painting’ for N.Green and P.Seddon (ed) History Painting Reassessed (Manchester University Press, October, 2000) ISBN: 0-7190-5168-1 pp.131-148.
• ‘Text and Subtexts’ Binghui Huangfu (ed) Text and Subtext: Contemporary Art and Asian Women Earl-Lu Gallery, Lasalle-SIA College of Arts, Singapore. Book for International Touring Exhibition of Contemporary Asian Women Artists. Curator: Binghui Huangfu. (June, 2000) ISBN: 981-04-2718-2  pp.33-41.
• 'Curating Feminist Histories' in Power Ekroth, Tove Helander (eds) Expositioner: Antologi On Utstallningsmediet: The Exhibition as an Artistic Medium  Stockholm: Konstfack, 2000 published for the Sollentuna Art Fair, Stockholm. (March, 2000) ISBN: 911-630-9243-4 pp.88-96.
• 'Desire by Design' AICA 1998 conference papers. Transition: Changing Society and Art (Tokyo: AICA, Japan & AICA Press,1999)
• ‘Digital Sampling: women artists' use of technology in Europe, America, Australia’ Edgecutters Women’s Research Group Desire by Design (London: I.B.Taurus, 1998). ISBN 1-86064-280-2 pp. 77-93.
• Essay: 'Orthodoxies and Paradoxes in Feminist Art' , Women and Art, papers from 1997 conference, (CCA Galleries, Glasgow,1998).
• Introductory essay ‘Women Artists: Careers and Training in Britain and Ireland in the 20th Century’ and 9 separate entries on the work of E.Agar, I.Colquhoun, J.Dismorr, G.Hermes,W.Nicholson, D.Proctor, E.Walker, J.Morreau, Sylvia Gosse in Delia Gaze (ed) Dictionary of Women Artists (Fitzroy Dearborn,1997).ISBN 1-884964-21-4
• 'A Critique of  Kant's notion of Disinterestedness: Sophie Calle & Adrian Piper' T.Moualla (ed) Visual Poetics (U.A.E.: Ministry of Culture, Govt. of Sharjah, publication of Sharjah Biennale committee, March 1997)
• ‘Bad Girls: Feminism and Identity Politics in the 1990s’ in J. Steyn (ed)
  Beyond Identity: Other Than Identity  (Manchester University Press,1997) pp.152-166. ISBN 0-7190-4463-4.
• ‘Feminist Readings of Louise Bourgeois’ Ian Cole (ed) Museum of  Modern Art Papers: Vol 1 Louise Bourgeois(Oxford: MOMA , 1996) pp.37-45 ISBN  0-905836-93-6.
• ‘Hepworth and Her Critics’  David Thistlewood (ed) Barbara Hepworth  Reconsidered(Tate Gallery, Liverpool and Liverpool University Press, March 1996) pp. 75-93.  ISBN 0-85323-770-0 (Also commissioned in May 1995 by Art Gallery of Ontario, Toronto to write 8 text panels to accompany touring exhibition of Barbara Hepworth).
• ‘A Fair Field and No Favour: Women Artists in Britain' in Sybil Oldfield, ed., This Working Day World: Womens’ Lives and Culture in Britain 1914-1945, Falmer Press,1994 pp.141-155. ISBN 0-7484-0107-5.

Catalogue Essays

• ‘Thinking/acting with tactics of displacement’ in/about Su Alonso and Ines Marful RE-ACTION, una ginología artística contra el canon. Catalogue, published after exhibition 2015 Sala LAUDEO, Universidad de Oviedo (2015)
• ‘Defining the problem: women artists, feminism and globalisation’ in Celebrating International Women’s Day (8 March): Feminism: from avant-garde to present day (Moscow: Manezh Museum and The Worker and Kolkhoz Woman Museum in Moscow, March-May 2013)  Curator(s): Nataliya   Kamenetskaya, Olesya Turkina, Marina Loshak
• 'Feminist Art Practices: Rewind, Remix and Pump up the Volume!’ one of the ‘Curated Selections’ AXIS (UK) online curated exhibition and 1,000 word text (previously at http://www.axisweb.org/curatedselections, August 2009)
• 'Self and Other in Late Consumer Capitalism' in SELF and OTHER: Portraits from Asia and Europe touring exhibition in Japan and Europe 2008-2009 Curators: Kenjo Yoshida and Brian Durrans. Japanese pp.125-123. English pp.304-306.
• Essay for ‘Arbeit/ Work’ curated by Sylvia Eiblmayr Innsbruck: Galerie im Taxispalais, June 2005. Exhibition toured to Lewis Glucksman Gallery, Cork and Ormeau Baths Gallery, Belfast in 2006.
• Curation of 'Dreams of the Future: Suzanne Treister and Olga Kisseleva' Skuc Gallery, Ljubljana for City of Women 10th Annual Festival, 1-10th October 2004.
  
• 'Valuation – De-valuation – Re-evaluation' in Julia Schäfer (ed) Trautes Heim/ Cosy Home  Leipzig: Galerie für Zeitgenossiche Kunst, published by Walter Konig Books, 2005.
• 'Women's Art Exhibitions' From my Fingers: Living in the Technological Age. Key Event of the First International Women’s Art Festival in Taiwan. (Taiwan: Kaohisung Museum of Fine Arts, May 8-July 27 2003) (English text pp. 46-51: Chinese, pp.40-45). Organised by the Association of Women Artists and Elsa Chen.
• ‘What does it mean to think as a Feminist?’ in Sanja Ivekovic's Frauenhaus (Zagreb: Museum of Contemporary Art, March 2003). 5 pages, no page numbers. (Text in Croatian and English). (republished, revised version, Afterall, May 2007)
• 'Torture, Gender and Representation: Against the Torture of Women' Art of Tortures and Execution - Art Against Tortures and Execution (Open Social Network Art Project, National Centre of Contemporary Art, Kaliningrad, 2002) pp.20-35.
• 'Reality/Real Estate' pp. 37-42 ‘Parallel and Plural Narratives’ Reality/Real (E)State (Bratislava : Soros Centre, August 2001). pp.77-88
• Mennesket : Man Copenhagen: Arken  Museum of Modern Art. Curator: Stine Hoholt. A major international exhibition. (September, 2000) pp.45-60, (English pp.198-209).
• Elaine Kowalsky: Marian and Dorothy short essay, Freud Museum, October 2000.
• All You Need is Love  essay for group exhibition catalogue. Gdansk, Poland: Bathhouse. (May 2000) Curator: Aneta Szylak.
• Introduction: Jane Prophet The Imaginary Organs of a Cyborg  CD-Rom booklet, (Umbrella, Inc.publication, Spring, 2000) Also exhibited as part of an AICA exhibition pairing critics and artists: Resonances Bratislava, Slovakia May 1999.
• ‘An all-too-brief introduction and some issues’ Den Lille Have: Denmark: Women’s exhibition, September 1999.
• Jacki Parry Ways of Editing Glasgow: The Paper Workshop, September 1999. ISBN 0-9537-181-07.
• 'Dancing Woman' short essay for exhibition catalogue Kirsten Justesen Re Kollektion Nordjyllands Kunstmuseum/Aalborg, Denmark.17 April-13 June 1999 p.4.
• Essay: 'Visions of Identity in Flux: Chila Kumari Burman', exhibition catalogue, Genders and Nations: Shirin Neshat,Chila Burman curator: Salah Hassan, Herbert Johnson Museum of Art, Cornell University, Ithaca, New York, April 1998.
• Catalogue Essay for Jacqueline Morreau: Themes and Variations  Ferens Art Gallery, Hull,  Touring Exhibition November 2-Dec 14 1996 pp.3-7 ISBN  0-9514339-2-X
• Deanna Petherbridge: Themata, Fisher Fine Art, London exhibition catalogue Jan 17-Feb 18 1990 (Reprinted in WASL Journal No.33 March/April 1990 pp.12-13)

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Articles (N.B.:  n.paradoxa articles by Katy Deepwell are not listed, search n.paradoxa)

• ‘Identity/Alterity re-de-constructed in Repetition and Difference’ for Art History Special issue on Remapping British Art: Three Moments of Modernism. (Dec, 2020) Guest editors: Sonia Boyce and Dorothy Price
• 'Art Criticism and the State of Feminist Art Criticism' Arts, Special Issue Reconsidering the State(s) of Criticism (Feb, 2020)
  https://www.mdpi.com/2076-0752/9/1/28/pdf
• Witches, Feminist representations in contemporary art and Misogyny’ Pomegranate: International Pagan Journal (Equinox Publishing, 2020)
• ‘Postdigital Education, Feminism, Women’ Postdigital Education (Springer) (Jan 2020) https://link.springer.com/article/10.1007/s42438-019-00096-1
• Interview with Silvia Ziranek: ‘I enjoy appearance, colour, shape and form – and I love dressing up’ Studio International online, September 2019. https://www.studiointernational.com
• ‘On feminist art manifestos’ Cambridge Literary Review, no. 11 (2019)
• ‘Other’ and ‘Not-All’, Rethinking the Place of the woman artist in ‘Contemporary Art’ Revista de Estudios Globales y Arte Contemporáneo: Art Global Age Vol 2, No 1 (2014) online journal, University of Barcelona (article in English):  http://revistes.ub.edu/index.php/REGAC/article/view/10253
• ‘Can a journal act as a site of feminist resistance?’ TRECA (Croatian women’s studies special issue) vol XIII / no.2 (December 2011) Croatian, pp.105-114
• ‘Equal but different: questions about rights, statistics and feminist strategies for change’ Frauenkunstwissenschaft (Germany) (August 2009) pp.9-27
• ‘On Women Artists and Feminist Analysis’ C-arts Mag: Asian Contemporary Art and Culture (Singapore) August 2009. Introductory essay for special report on Asian women artists, also guest editor of this issue commissioning 12 writers from across Asia.  pp.6-8. Report, pp.6-60.
• ‘Sanja Ivekovic's Women’s Room/Frauenhaus project’ Afterall, vol 15 Spring/Summer 2007 pp.83-88
• ‘Some Notes on Interviewing Artists’ and ‘Work/Labour’ Art Gamadas Vol 5 (Japan: Kumamoto, CAMK) 2005.4 – 2006.3 (2007) pp.479-489
• ‘Katy Deepwell and Judy Freya Sibayan in conversation on ‘Regendering Documenta’ at Documenta XII, part of the Documenta XII magazine project talks’ CTRL+ P (2007) http://www.ctrlp-artjournal.org/pdfs/CtrlP_Issue9.pdf
• ' Models and Questions: issues in feminist art criticism' Art Gamadas (Japan: Kumamoto: CAMK) 2003.4-2004.3 (2005) pp.662-683
• 'De Kunstenaar also tussenpersoon opvoeder en bureaucraat: Kanttekeningen bij de Biennale van Liverpool, 2004' /' A review of the Liverpool Biennale, 2004' Context K #2 (2005) Belgium, CIAP pp.123-144 (text in Flemish)
• 'Women Artists in Europe' Jamini: An International Arts Quarterly (Dhaka, Bangladesh), October 2004 (republished in Likovne Besede/ Artwords (Slovenia) vol.69/70 winter 2004 pp.32-36).
• ‘Report on post-yBA situation: London in 2003-2004’ for Context K: Actuele Kunst (CIAP, Belgium) January 2004 pp.97-110. (text in Flemish)
• ‘Musing on Myths’ Paletten (Sweden) 253/254 nr 3-4 2003 vol. 64 pp.48-51 (text in Swedish)
• 'Challenging the Indifference to Difference: The Invention of Feminist Art Criticism' The Sandwich Man (The Netherlands) June 2003
• 'Warum is eine feministische Kunstzeitschrift immer noch notwendig? (Why is a feminist journal not redundant?') Olympe: Feministische Arbeitschefte zur Politik (Switzerland) Heft. 19 December 2003 pp.134-135. (text in German)
• ‘Geo-political shifts, Women Artists and impact of models of Globalisation in contemporary art.’ pH (Kalinigrad, Russia) Post-Geography (2002) pp. 22-29 (text in English/Russian)
• ‘Paradoxes in Contemporary Feminism & the role of the feminist art critic’ D’ART (Bratislava) Feb 2001. (Trans. to Slovak).
• ‘Notions of "Nordic" Art - a Set of Paradoxes’ (with Joseph Backstein) NIFCA (Nordic Institute for Contemporary Art) Newsletter (Helsinki, November 2000)
• ‘Sanja Ivekovic’ trans.of conference paper from opening conference of exhibition Taxipalais, Innsbruck (Zagreb) Zarez (July 2001)
• 'Sassy or Not: Women’s Body Art’ Siksi: the Nordic Arts Review, (Stockholm) Vol X1, No.4 Winter 1996. 1997 pp.88-90 and follow-up to debate by Kristine Stiles, Laura Cottingham, Tania Orum, with concluding statement by Katy Deepwell in Siksi Vol.XII, No.4 Winter 1997 pp.88-89. Republished in Russian in anthology (2005).
• ‘Pains and Pleasures: Women's Performance and Body Art in the 1990's’ Contemporary Visual Arts  Spring 1997.Issue 14. pp.38-43
• ‘Reading in Detail: the work of the Nigerian woman sculptor, Ndidi Dike Nnadiekwe’ Nka: Journal of Contemporary African Art (America), No. 2, Fall 1996.pp.40-43.
• 'Mona Hatoum’ Tate Gallery Magazine , Issue 6 , Summer 1995. pp.32-35. Translated for Turkish Magazine, Anons July/August 1995 issue 53-4. pp.28-30. Translated & Reproduced in German in P.Weibel Inclusion/Exclusion (exhibition catalogue: Austria, Graz 1997) pp.219-220.
• 'N.Broude & M.Garrard The Power of Feminist Art' Oxford Art Journal
  Vol. 18 No.2 1995 pp.119-122.
• ‘Uncanny Resemblances: Restaging Claude Cahun in ‘Mise en Scene’’
  Women’s Art Magazine No.62 Jan/February 1995 pp.17-19.
• ‘Paint Stripping: Feminist Possibilities in Painting After Modernism’
   Women’s Art Magazine No.58 May/June 1994 pp.14-17. Reprinted in Hilary Robinson Feminism-Art-Theory: An Anthology, 1968-2001 (Blackwells, 2001).
• 'Rethinking the Nature/Culture Distinction'  Women's Art Magazine, No.52 May/June 1993 pp.10-12
• 'Women Artists in Britain' Hard Times (German/English magazine, Berlin) No.47 Winter 1992 pp.51-56
• 'Time Ladies: Feminist Art Criticism into the 1990's' Women's Art Magazine, No.46 May/June 1992 pp.7-8
• 'Feminist Art History and Academic Institutions Today: A European Perspective' Women's Art Magazine, No.41 July/Aug 1991 pp.24-25
• 'The State of Arts Funding' Art Monthly, Feb 1991 p.30
• 'Emmy Bridgwater' (co-written with Deborah Sugg) Women's Art Magazine (formerly WASL Journal) No.37 Nov/Dec 1990 pp.14-16
• 'Dod Procter (1892-1972)' WASL Journal, No.34 May/June 1990 pp.19-20
• 'Art Beyond Barriers: the International Association of Women in the Arts Conference and Exhibition, Bonn, Germany, October 1989' WASL Journal , Nos. 31/32 
  Dec 1989/Feb 1990 pp.34-36
• 'Landscape and Feminist Art Practices' WASL Journal, No. 27 Feb/March 1989 pp.25-26
• 'Images of Women: Interview with Clare Short MP' Art Monthly, No.123 Feb 1989 pp.12-15
• 'Identity - Further Questions' Tower Hamlets Women's Art Forum Newsletter, Nov 1988 n.pp.
• 'Women in the Seven and Five Society'  WASL Journal, No.22 April/May 1988 pp.10-12
• 'Readings of  the Jewish Artist in Late Modernism: Kitaj and Rothko' (co-written with Juliet Steyn), Art Monthly, No.113 Feb 1988 pp.6-9
• 'Almost Unknown: RA Women: Some Unanswered Questions' WASL Journal, No.19 Oct/Nov 1987  pp.6-8
• 'In Defence of the Indefensible: Feminism, Painting and Postmodernism' Feminist Art News, Sept 1987 Vol.2.No.4 pp.13-15. Also editor of this issue on Painting.
• 'Mark Rothko'  The Jewish Quarterly, June 1987 Vol.34 No.2 (126) pp.47-50
• 'The Memorial Exhibition of Ethel Walker, Gwen John and Frances Hodgkins' WASL Journal, No.16 April/May 1987 pp.5-6

Reviews, Dictionary Entries & Short Texts (NB. work for n.paradoxa is not listed, search index)

• ‘Feminist problematic(s) in Contemporary Art’  Arta: Revista de arte vizuale (Bucharest) Nr. 11, 2014 Feminisme/Feminisms pp.8-10
• Toward a Consensual Definition of Contemporary Art?’ C-Arts Mag: Asian Contemporary Art and Culture vol 2. March-April 2008 pp.47-48
• ‘Art Criticism: A feminist response’ in James Elkins (ed) The State of Art Criticism (Routledge, Cork University Press, 2008) pp.237-241
• ‘Monica Sjoo’ catalogue essay in Kiss Kiss Bang Bang: 45 years of art and feminism (Bilbao: Museo de Belles Artes, 2007) Curator: Xabier Arakistain
  pp.72-74 (Spanish), pp.271-272 (English)
• 'Love and Politics' special edition of Bypusk: Newspaper of the Engaged Creative Platform "Shto Delat?/ What is to Be Done?" (St Petersburg) No. 5. May 2004, produced by Russian collective Shto Delat? (Gluklya/ Tsaplya).
• ‘Feminine(s). Identity from the perspective of gender’ Introductory text for El Cultural, published with the newspaper El Mundo (Spain). Special issue for PhotoEspaña June 2002 
• Contributor to Jochen Gerz's online project Anthology of Art Jan. 16 - 31, 2002 on our site http://www.anthology-of-art.net
• Pipilotti Rist and Dorothy Cross, PADT commissions at the National Theatre’ (London) Public Art Journal (Jan 2002)
• ‘Pyramids or Pillars’ review of European survey of Women in the Arts TIF: Womens Studies Newsletter Bielefeld University, Dec 2001.
• ‘Sanja Ivekovic: Personal Cuts’ (Austria) Camera Austria (October 2001)
• 'Jessica Dismorr'   Volume 25  Allegemeines Künstlerlexikon  Leipzig: KG Saur Verlag München (2001) Editor: Ina Deicke.
• Entry on ‘Feminist Art Practice’ for Dale Spender (ed) Encyclopedia of Women’s Studies (New York: Routledge, 2001)
• Peg Zeglin Brand (ed) Beauty Matters (Bloomington and Indianapolis : Indiana University Press, 2000.) CAA Journal: online book reviews, Jan 2001
• ‘Paradoxes in Contemporary Feminism & the role of the feminist art critic’ Bastard (Croatia) ISSN 1331-7296 December 1998 pp.60-63 (Serbo-Croat with English summary).
• Review of 11th Sydney Biennale  'In the Every Day: Critical and Theoretical Speculations on the 11th Biennale of Sydney'  Australia:Sydney: Artspace, 1998.
• Review of 'Manifesta 2'  Contemporary Visual Arts September 1998
• 'Negotiating Models of Feminist Research'  Art History Vol. 21 No. 3, September 1998 pp.436-440
• 'Impliquer les Créateurs dans le circuit traditionnel' (commentary on André Magnin) L'Oeil (Paris) Vol 12,1997 p.68
• ‘Cairo Biennale’  Eastern Art Report.Vol IV, No.4. Spring 1997 p.56.
• P.Adams The Emptiness of the Image: Psychoanalysis and Sexual Difference
  & Liz Wells Viewfindings: Women Photographers: ‘Landscape’ and Enviroment
  Women’s Art Magazine April/May 1996 pp 29-30.
• ‘Elaine Kowalsky’  Women’s Art Magazine  No.63  March/April 1995 p.27
• ‘John Roberts’ Art has No History’  Women’s Art Magazine No.60 Sept/Oct 1994 pp.30-31
• ‘Carol Duncan’s The Aesthetics of Power’  Women’s Art Magazine No.57 March/April 1994 p.28.
• ' The Menace of the Spoken Word: Ida Applebroog'  Women's Art Magazine  Jan/Feb 1994 No.56 p.23-24
• Obituary: "Sylvia Melland (1906-1993) Women's Art Magazine Nov/Dec 1993 No.55 p.25
• N.Broude & M.Garrard’s The Expanding Discourse: Feminist Art History' Women's Art Magazine, Jan/Feb 1993 No. 50 p.31
• 'The Nude', Victoria and Albert Museum & 'The Artists Eye: Bridget Riley', National Gallery, WASL Journal, No. 30 Oct/Nov 1989 p.22
• 'At Face Value....' Third Eye Centre, Glasgow & 'Marisa Rueda' WASL Journal, No. 29 June/July 1989  p.30
• 'Edith Granger-Taylor' Gillian Jason Gallery, WASL Journal, No.28 April/May 1989 p.29
• 'Women and the Creative Arts: University of Kent, 15 Oct 1988'  WASL Journal, No. 26 Jan 1989/Dec 1988 p.4
• 'The Society of Women Artists' Archives'  p.4 & 'Vision and Difference' by Griselda Pollock, WASL Journal, No. 25 Oct/Nov 1988 p.40
• 'The 1988 Society of Women Artists exhibition', WASL Journal, No. 24 Aug/Sept 1988 p.24
• 'The Missing Culture Conference' (co-written with Pauline Barrie)  WASL Journal, No.24 Aug/Sept 1988 p.5 'The Missing Culture Conference', Art Monthly, No.118 July/Aug 1988 p.36 'The Missing Culture Conference', Spare Rib,  No.193 August 1988 p.53
• Tower Hamlets Women's Art Forum 'Identity' exhibition, Chisenhale Gallery, Bow  WASL Journal, No. 23, June/July 1988 pp.24-25
• 'Victorian Women Artists' by Pamela Gerrish Nunn, WASL Journal, No. 22 April/May 1988 pp.44-45
• 'WASL 1988 Diary Exhibition'  WASL Journal, No. 21 Feb/March 1988 p.23
• 'Eileen Cooper at Blond' Artscribe, No. 52 July 1985 pp.64-6

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Conference Papers and Talks

• September 2021 ‘The perversions of feminism(s) in neo-liberal thought and elements of their resistance in feminist artists’ works’ International Congress: A neoliberal counter-revolution? Cultural Imaginaries, Political Subjectivities and New World Order (1979 – 2019). MACBA, Barcelona. Organised by Research projects: ‘MoDe(s). Decentralised Modernity(ies). Art, Politics and Counterculture in the Transatlantic Axis of the Cold War’ and ‘Fossil Aesthetics: A Political Ecology of Art History, Visual Culture and the Cultural Imaginaries of Modernity’ in collaboration with the Laboratoire de Recherche Historique Rhône Alpes (LARHRA) of the Université Grenoble Alpes.
• September 2021 ‘Anti-fascist activities from women artists in the Artists International Association (UK) in the 1930s’ for Women in the Art Scene (1804-1939) Zaragoza Museum, Spain. International conference from research project, ‘Women artists in Spain, 1804-1939’, Universities of Zaragoza, Complutense of Madrid, Valencia, and Seville.
• June 2021 ‘What is Feminist Research?’ Keynote speaker at Ikergazte, Bilbao. An inter-disciplinary conference for PhD students and Early Career Researchers in Basque region, Spain. Profile interview (Basque)
• Feb 2020 ‘Jessica Dismorr: Women Artists in/out of Vorticism’ Radical Women: Jessica Dismorr and her Contemporaries
  Pallant House, Chichester, UK
• Nov 2019 Keynote speaker at Kjønnsforskning NÅ! – Centre for Women’s and Gender Research at UiT Norway’s Arctic University, Tromso, Norway.
• March 2019 Keynote speaker, Congreso Internacional Géneros y subjetividades en las prácticas artísticas contemporáneas –siglos XX y XXI– Comité ejecutivo Proyecto I+D Prácticas de la subjetividad en las artes contemporáneas. Arte y Genero, Universidad Malaga, Spain.
• Nov 2018 ‘Feminist Histories, Radical Women’    MASP, Sao Paulo, Brazil
  https://masp.org.br/en/seminars/feminist-histories-radical-women
• October 2018 ‘Feminist contentions in art criticism: corrections, interrogations and exchanges’ for ‘Reframing the (Art) World – Commitment, Challenges and Crises of International Art Criticism since 1945 (PRISME/AICA conference), Universite Rennes 2, France.
• March 2018 ‘On Pearl Binder and Victoria Lomasko’ Pushkin House, London
• Feb 2018 Panel presentation, Feminist Art Histories Event, St Hilda’s College, Oxford University.
• Dec 2017 Paper at Griselda Pollock’s 40th Anniversary conference, ‘A Feminist Space at Leeds: Looking Back to Think forward’, Leeds University.
• Dec 2017 “Where are our Hands, in which our Future Lies?” / A Feminist Perspective on Dimitri Prigov and Russian conceptualism, Panel presentation, (London: Calvert 22)
• Oct 2017 Keynote speech at ‘Gender and Diversity’ conference, Tokyo University of the Arts (Geidei).
• July 2017 ‘Local/Global Dynamics in Feminism and Contemporary Art’ Middlesex University. Keynote and Organiser of international event, celebrating 20 years of n.paradoxa.
  
• June 2017 ‘n.paradoxa’s MOOC: (mass open online course): an intervention in feminist thought and pedagogy on feminism and contemporary art’ Gender and Education conference, Middlesex University.
• June 2017 Nothing Abandoned, Manchester School of Art
  
• November 2016 'Women Artists, Feminism and Media: a case study of the new Tate Modern' GENDER AND DIVERSITY IN THE ART MUSEUM, seminar arranged by Nettverk for arbeid med likestilling og mangfold i kunstmuseene, Sponsored by Kulturrådet (the Norwegian Arts Council) in Bergen
• October 2016 talk about Motherhood and art, ProCreate, MotherHouse at Iklectik, London
  
• June 2016 'Women artists, “magnificent exceptions”, feminist problems' Keynote speaker at Art, Gender conference, Association of Art Historians Student Conference, Loughborough University

• June 2016  Keynote speaker at Endarkenment conference, Dovecot Studios, Edinburgh (Organiser: Andrew Patrizio, ECA)
• May 2016 joint paper with Elina Suoyrjo 'Womanhouse, Damenbilleder, MFK. Thinking about women artist's spatial projects outside gallery spaces' Centro de Arte Moderna, Fundacio Calouste Gulbenkian, Lisbon organised by University of Lisbon and AWARE.
  
• April 2015 ‘Why 1989? What Happened to Feminism in Contemporary Art? Pourquoi 1989? Qu'est-il arrivé au féminisme en art contemporain?’ at the conference: Subjectivités féministes, queer et postcoloniales en art contemporain: une histoire en mouvements, University of Rennes II, 8-10 April 2015
• March 2015 ‘Misogyny: Witches and Wicked Bodies’ ICA. Speaker and organiser of Create/Feminisms event for Middlesex University with Deanna Petherbridge, Lynn Segal, Alexandra Kokoli and K. Deepwell as speakers.
• August 2014 ‘Women Artists in Britain in the 1970s’ ‘All women art spaces as heterotopias’ Open panel organized by Agata Jakubowska at the Fourth Biennial Conference of the European Network for Avant-garde and Modernism Studies UTOPIA
  (University of Helskinki, 29-31 August, 2014)
• July 2014 Lecture on ‘Feminism as the Token Lecture’ at Create/Feminisms
  cluster conference on Feminist Pedagogy in Art and Design, Middlesex University.

• Oct 2013 Keynote Lecture ‘Feminist practices in Slide/Tape’ for the ‘Slide/Tape
  Conference’ Loughborough University. Organiser: Mo White.
• September 2013 Paper at ‘Good Girls’ Symposium to accompany exhibition at Museum of Contemporary Art, Bucharest, Romania.
• Jan 2013 'Twenty-three Percent’ conference on Sanja Ivekovic, held at RCA, organised by Calvert 22, in collaboration with South London Gallery.
• September 2012 ‘Globalisation and Contemporary Art’, Winchester School of Art, Southampton University.
• March 2012 'Reflective solidarities: “I ask you to stand by me over and against a third” : Feminisms of Multitudes Session, Art Historians Association Conference, Milton Keynes.
  
• June 2011 ‘Women Artists in and out of Vorticism’ at the Repositioning Vorticism conference at Tate Britain to accompany exhibition: ‘The Vorticists: Manifesto for a Modern World’
• Feb 2011 ‘What AICA does as an NGO’ paper for panel at College Art
  Association, New York
• Nov 2010 'Feminist Re-readings of traditional women's crafts', Hand Made Tales: Women and Domestic Crafts Women's Library, London. Also contributor to the exhibition, Hand Made Tales (October 2010-March 2011). Curated by Carol Tulloch.
• July 2010  Art and Feminism course, 3, Centro Cultural MONTEHERMOSO KULTURENEA, Vitoria-Gasteiz, Spain
• Nov 2009 'Gender Check: Femininity and Masculinity in Eastern European Art, 1960-present’ MUMOK, Vienna. Panel discussion.
• May 2009 'When is Feminism?: The Case of Sanja Ivekovic’ Van Abbemuseum, Eindhoven and BAK, Utrecht. April 2009 
• April 2009 ‘Women’s Art as an International Project’ Moscow Museum of Modern Art and Russian State University for the Humanities.
• Dec 2008 ‘VIVA la revolucion’ Centro Cultural MONTEHERMOSO KULTURENEA, Vitoria-Gasteiz, Spain
• October 2008   ‘Talking Loud and Saying Something’ ELIA conference. Chair of Panel Discussion on Artistic Research. Transcript of discussion to be published in Art Monitor, University of Goteborg, Sweden, 2009.
• March 2008 ‘Geteilte Zeit/Shared Times’ European Academy, Berlin
• Feb 2008 ‘The Furious Gaze’ Centro Cultural MONTEHERMOSO KULTURENEA, Vitoria-Gasteiz, Spain
• May 2007 Portals of Art History’ Sterling and Francis Clark Art Institute, USA. Organisers: Michael Ann Holly and Mark Ledbury.
• April 2007  Keynote speaker at ‘Repeat, Repeat’ Myriad conference, University of Chester
• February 2007  panel discussion and presentation III Encuentros Internacionales de Arte y Genero, Segunde Mesa: Arte y Ciberfeminismo, Seville, Spain (curator: M.Aizpuro)
• July 2006 'Diasporic Futures, Women, the Arts and Globalization' Victoria & Albert Museum, London. Organisers: Kingston Univ., Univ. of Roehampton and Lancaster Univ.
• Dec 2005   ‘What About Feminism?’ Panel, Stedelijk Museum, Amsterdam

• Oct 2005 ‘Claims for a Feminist Politics in Painting’ in Contemporary Painting in Context, Danish Art Academy and Louisiana Museum, Copenhagen.
• April 2005 Co-chair of panel with Britta Dwyer 'Women's Contribution to Visual Culture between the Wars, 1918-1939' Association of Art Historians Conference, Bristol. May 2004
• 'Iimeframes in feminist art practices' The Little Garden project workshop, one-day symposium, Vendsyssel Museum of Art, Hjoerring, Denmark.
• Oct 2002 'Coming Round the Mountain' panel discussion to accompany exhibition Mons Veneris: Female Geographies Austrian Cultural Forum, London
• February 2002 'Art and Feminism' panel discussion, ARCO '02, Madrid. Chair: Uta Meta Bauer.
• September 2001 'Cultural knowledge, genealogies and the problem of geo-political location(s) producing ethnocentrism(s) in feminist theory' University of Bielefeld, Germany.
• April 2001 exhibition symposium for Sanja Ivekovic: Personal Cuts Innsbruck: Galerie im Taxipalais. Conference paper published in full in Zarez (Croatia: Zagreb, (111/55) June. (trans. into Croatian).
• September 2000 Conference Paper, Co-operation international conference of feminist art and theory, Dubrovnik, Croatia.
• Feb 2000 Panel participation on 'Feminist Art Criticism', CAA, New York.
• June 1999 'The Invention of Art Criticism' Archives d'Art Contemporain/ University of Rennes 2.
• November 1998 Conformism & Non-Conformism, Soros Centre, Vilnius, Lithuania
• September 1998 AICA International Congress, Tokyo, Japan.
• July 1998 FACES conference, Forum Stadtpark, Graz, Vienna, Developments in Feminist Art Criticism Lecture, The Depot, Vienna, July 1998
• April 1998 'What's Going on in London' Siksi lecture, Konstakademie, Stockholm
• February 1998 Women's Caucus for Art, Toronto conference
• November 1997 'Ostranenie' Cyberknitting panel, Bauhaus, Dessau, Germany.
• July 1997 'Transforming Feminism’ conference , Women's Studies, Lancaster University.
• March 1997 ‘Women and Art’,conference, CCA Galleries, Glasgow
• December 1996 ‘The Last Four Years of the 20C’ - 4th international conference of 6th Cairo Biennale.
• October 1996 Panel on Feminist Aesthetics for joint Canadian and American Associations of Aesthetics, Montreal,Canada.
• April 1996 Paper on Feminist readings of Kant ‘Beauty and its Shadow’, AAH conference,Newcastle
• Feb 1996 ‘Exchanging Views from Europe’ Women Caucus in the Arts, Boston. An international panel arranged to present the work of women artists groups from Britain, Denmark, Switzerland, Germany and Ireland to an American audience
• July 1995 On the Question of Paint : Paint-stripping continued...' Feminist Arts and Histories Network Conference, Leeds University.
• Oct 1994 'Hepworth and Her Critics' Representing Hepworth, Tate Gallery Conference,Liverpool
• Sept.1993 "Questions for Feminist Art Criticism" Feminist Art & Histories Network Conference Leeds University
• April 1992 'Women Artists in Britain between the Wars' Women in Britain,1914-1945 , Sussex University
• April 1989 'Landscape and Feminist Art Practices', Association of Art Historians Conference, Institute of Education, London
• June 1988 'Women and Art Education', Wakefield Women's Festival, Wakefield
• March 1988 'Feminism, Painting and Postmodernism', Torn Halves Conference, Culture Colloquium, Southampton University

Guest Lectures and Talks

• Nov 2021 Narrating Arts in Feminism and Eastern Europe Institute of Art History, Warsaw University
• Oct 2021 Cambridge School of Art - PGR Forum - Prof Katy Deepwell on Feminist Art and Artivisms - Anglia Ruskin Creative Showcase
  
• Jan 2020 ‘Let’s Walk the Walk’, panel discussion, vernissage, Nothing Less!: 100 Years of  Women’s Suffrage, Austrian Cultural Forum, London.
• Dec 2017 “Where are our Hands, in which our Future Lies?” / A Feminist Perspective panel discussion, Calvert 22, London
• Oct 2017 Lectures on n.paradoxa and feminism in contemporary art at Doshisha University and Seiko University, Kyoto
• June 2017 Nothing Abandoned series, Manchester School of Art
• Jan 2014  Panel discussion on Feminist art on the Internet, ICA, London – part of the New Contemporaries talks.(chair: H. Reckitt).
• September 2013 Panel discussion More Light on 8th March with Olesya Turkina (Chair), Tania Antoshina, Elena Kovylina, Mila Bredikhina, Umida Akhmedova, 5th Moscow Art Biennale, Manege, Moscow.
• June 2013 Talk with Fiona Rukschcio about her work Retaped Rape, Austrian Cultural Forum, London.
• March 2013  Panel Discussion Africa and Its Diasporas with Sonia Boyce, Angèle Etoundi Essamba, Nancy Mteki, and Giulia Lamoni, at Tiwani Contemporary, organised by Tiwani, Christine Eyene.
• Feb 2013 Round Table panel discussion with Rosalind Blakesley, Nataliya Kamenetskaya, Natalia Glukyla, Natalia Budanova, Julie Solovyeva. 'Women in Russian Art' Organisers: Pushkin House at EBRD, London.
• Feb 2012 Liverpool Hope University, guest speaker.
• March 2011 Discussion with Lynn Hershman Leeson, after screening of WAR at ICA, for ‘Human Rights Watch’ Festival.
• March 2011 Nancy Spero exhibition lecture series, Serpentine Gallery, London
• Jan-March 2011 Feminist art seminars n.paradoxa/ICA, London
• October 2010 and April 2009 MA/Diploma Course, ICA, Moscow
• August 2007 Regendering Documenta’ with Judy Freya Sibayan documenta 12, Kassel
• November 2005 Valand School of Art, University of Goteborg
• Feb 2005 Museum of Contemporary Art, Kumamoto, Japan.
• Jan 2004 MA/Diploma Course, ICA, Moscow
• November 2003 Camberwell School of Art November 2003 Contemporary Art Research group, Edinburgh University.
• Jan 2003 "Begriff im Bild" day conference, Bremen Kunstlerhaus.
• November 2002 MA/Diploma course, ICA, Moscow
• March 2002 'Feminism in an International Frame' Manifesta 4, Staatlichen Hochschule fur Bildende Kunst - Stadelschule, Frankfurt.
• November 2000 Cardiff School of Art.
• November 2002 Chisenhale Gallery, London. Discussion with Jemima Stehli and Maria Lind.
• March 2000 IVAC, lecture tour to Lagos, Nsukka, Nigeria.
• October 1999 Konstfack, Stockholm, Sweden.
• October 1999 Nomadic Academy Sessions, St Petersburg University, Russia.
• September 1999 Photography Gallery, London "Francesca Woodman & Helen Van Meene"
• September 1999 AICA, Croatia, lecture tour to Dubrovnik, Rijeka and Zagreb.
• August 1999 Irish Museum of Modern Art, Dublin.
• January 1999 Glasgow School of Fine Art.
• Oct-November 1998, Dept of Art History, University of Copenhagen,
  Danish Art Academy of Copenhagen and Odense Art Academy.
• September 1998 University of Wollongong, New South Wales, Australia
• July 1998 The Depot, Vienna,Austria.
• March/April 1998 Umea Art School,Umea; Konstfack, Stockholm
• December 1997 London College of Printing
• March 1997 Middlesex University.
• October 1996 University of Western Ontario, London, Canada ; Capilano College, Vancouver ; Mendel Art Gallery, Saskatoon and University of Saskatchewan, Saskatoon, Canada.
• March 1996 Ruskin School of Drawing,Oxford
• November 1995 Museum of Modern Art,Oxford
• October 1995 Cambridge Artworks, Cambridge
• September 1995 MaVis studios,special event, Wesley House,London
• May and Jan 1995 MA Art History, Winchester School of Art & Design
• March 1995 MA Art History, University of East London and MA Theory and Practice of Public Art and Design, Chelsea School of Art
• March 1994 BA Fine Art,Winchester School of Art and Design
• Feb 1994 BA Fine Art,Visual Arts, Goldsmiths College
• Jan 1994 MA Art Therapy,Goldsmiths College
• Nov.1993 Faculty of Art & Design,University of Derby
• May 1993 MA Arts Administration, City University
• April 1993 Norwich Gallery, Norwich Institute of Art and Design
• Nov 1992 Howard Gardens Gallery, Cardiff Institute of Art and Design
• March 1992 MA Dance Studies, University of Surrey
• Feb 1991 Sunderland Polytechnic
• June 1990 University of East Anglia
• May/June 1988 English Dept, UWIST, Cardiff North East London Polytechnic
• June 1988 Southend College of Technology