Nottingham Interdisciplinary Modernism Research Network
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Lucy Bradnock

Assistant Professor, Faculty of Arts

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Biography

I gained my BA (2003) and MA (2004) in History of Art from the Courtauld Institute of Art, and my PhD in Art History and Theory from the University of Essex (2010). I held a Postdoctoral Research Fellowship at the Getty Research Institute (2009-2011), where I continued as a Research Associate and Managing Editor of the Getty Research Journal until joining the University of Nottingham in September 2012.

I am due to be on research leave in the Autumn 2018 semester, though will still supervise doctoral students during this period.

Expertise Summary

My area of expertise lies primarily in histories of American art, criticism, and curating post-1945, with a particular emphasis on the role of California, the West, and the Midwest in art historical narratives; issues of regional cultural identity in the United States throughout the twentieth century; and counter-cultural or otherwise alternative sites of artistic production, dissemination and display.

My work has also addressed the American legacies of surrealism, in particular the writing of the French dissident surrealist Antonin Artaud, and the theoretical and art historical narratives of modernism and postmodernism.

Research Projects

Supervision

I currently supervise the following doctoral projects:

  • Evan Jones, "The Xerox machine: its use and influence in business, subculture and the arts" (AHRC funded project, second supervisor)
  • Katherine Doniak, "Conceptual Art and counterculture in 1960s America" (Midlands3Cities funded project, lead supervisor).
  • Lucy Mounfield, "Vivian Maier: the Amateur Photographer" (Midlands3Cities funded project, second supervisor)

I would welcome proposals that relate to any aspect of American art post-1945, especially those that engage with conceptual and/or performance practices, alternative or countercultures, or topics that relate to art centres and cultural networks beyond New York.

Teaching Summary

I am an Associate Fellow of the Higher Education Academy (AFHEA).

My teaching focuses primarily on American art, criticism and curating post-1945. I am also interested in European avant-gardes of the 1920s and 1930s, especially surrealism, and their legacies. Examples of modules that I teach are:

  • Art in America 1945-1975
  • Art, politics and protest in twentieth-century America
  • Art and architecture in Los Angeles, 1940-1980
  • Performance Art
  • Surrealism and its legacies
  • Institutional Critique
  • Exhibition Histories and Practices (MA)
  • Visualising Conflict (MA)
  • Image and Identity (MA)

My teaching is informed by the notion that art history is not only about acquiring knowledge but also about producing meanings. A goal of my pedagogical practice is to encourage student to interrogate dominant historical narratives and to be cognisant of their own subjective position in viewing and understanding works of art and visual culture. My teaching methods are aimed at encouraging students to feel a sense of ownership over material that they are studying and the process of learning and at creating a democratic classroom where students can develop confidence in their own critical voice and their ability not only to understand but also to shape society.

Research Summary

I am currently working on a book, provisionally entitled No More Masterpieces: Modern Art After Artaud, which is an analysis of American art of the 1950s to the 1970s through the lens of the American… read more

Recent Publications

  • BRADNOCK, LUCY, 2017. In Focus: Blood of a Poet Box 1965-68 by Eleanor Antin Tate Online. (In Press.)
  • BRADNOCK, LUCY, 2017. The Museum and the Marvelous. In: ERICKSON, RUTH, ed., Mark Dion: Misadventures of a 21st-Century Naturalist Institute of Contemporary Art, Boston / Yale University Press.
  • BRADNOCK, LUCY, 2017. Bite your tongue: Antonin Artaud and the neo-avant-garde. In: BAUM, KELLY, ed., Delirious: Art at the Limits of Reason 1950-1980 Metropolitan Museum of Art / Yale University Press.
  • BRADNOCK, LUCY and RIVENC, RACHEL, 2016. Made in Los Angeles: An Interview with Rachel Rivenc VoCA Journal: Voices in Contemporary Art. Spring,

Current Research

I am currently working on a book, provisionally entitled No More Masterpieces: Modern Art After Artaud, which is an analysis of American art of the 1950s to the 1970s through the lens of the American reception of the French writer Antonin Artaud.

Recent publications include editing the collected volume Lawrence Alloway: Critic and Curator (Getty, 2015), which was awarded the Historians of British Art prize for exemplary multi-authored volume.

Recent research events include the two-day workshop and symposium Rethinking regionalism: the Midwest in American Art History (8-9 June 2017, University of Nottingham), with support from the Terra Foundation for American Art.

Past Research

My doctoral thesis on the American reception of Antonin Artaud is the foundation of my current book project. My doctoral research also produced two articles. One, published in Art History in 2012, focuses on the Californian artist Wallace Berman's quotation of Artaud; the second explores the impact of Artaud's model of the Theatre of Cruelty on John Cage's theories of indeterminacy. In both, as in my thesis, I make the case for Artaud's importance in post-1945 American art history, and to understanding the theoretical formation of postmodernism.

In the two years following my PhD, as a postdoctoral fellow at the Getty Research Institute, Los Angeles, I worked on a project entitled Pacific Standard Time: Art in Los Angeles 1945-1980, which included an exhibition and accompanying publication, for which I co-authored two chapters. The first focused on the rise of the fledgling Los Angeles art scene through the concurrent development of a gallery scene and a series of alternative cultural practices associated with "beat" culture, assemblage art, and a widespread rejection of Bay Area abstract expressionism. The second chapter examined the rise of pop art in Los Angeles as a peculiarly expansive practice focused on craftsmanship and the exploration of new material techniques and processes. More broadly, my research during this period focused on the alternative sites of artistic production, dissemination and display that characterised Los Angeles during the 1950s and 1960s.

Future Research

I am currently developing two new projects: one on the ways in which protest movements revisit, reuse, and reinvent past protest imagery; and one on the role of fictional biography and life narrative in American art of the 1970s and 1980s.

  • BRADNOCK, LUCY, 2017. In Focus: Blood of a Poet Box 1965-68 by Eleanor Antin Tate Online. (In Press.)
  • BRADNOCK, LUCY, 2017. The Museum and the Marvelous. In: ERICKSON, RUTH, ed., Mark Dion: Misadventures of a 21st-Century Naturalist Institute of Contemporary Art, Boston / Yale University Press.
  • BRADNOCK, LUCY, 2017. Bite your tongue: Antonin Artaud and the neo-avant-garde. In: BAUM, KELLY, ed., Delirious: Art at the Limits of Reason 1950-1980 Metropolitan Museum of Art / Yale University Press.
  • BRADNOCK, LUCY and RIVENC, RACHEL, 2016. Made in Los Angeles: An Interview with Rachel Rivenc VoCA Journal: Voices in Contemporary Art. Spring,
  • BRADNOCK, LUCY, MARTIN, COURTNEY J and PEABODY, REBECCA, eds., 2015. Lawrence Alloway: Critic and Curator. Getty.
  • BRADNOCK, LUCY, 2015. Criticism at the Frontier: Lawrence Alloway at the Movies. In: BRADNOCK, LUCY, MARTIN, COURTNEY J and PEABODY, REBECCA, eds., Lawrence Alloway: Critic and Curator Getty. 48-68
  • BRADNOCK, L., 2013. Before the Menil: Walter Hopps's Curatorial Adolescence. Gulf Coast: A Journal of Literature and Fine Arts. Winter / Spring, 11-20
  • BRADNOCK, L., 2012. "Mantras of Gibberish": Wallace Berman's visions of Artaud Art History. 35(3), 622-643
  • BRADNOCK, L., 2012. Walter Hopps's Los Angeles pastoral. Art Journal. 71(1), 126-136
  • BRADNOCK, L., 2012. White Noise at Black Mountain (exhibition catalogue essay). In: KAIRA CABAÑAS and FRÉDÉRIC ACQUAVIVA, eds., Specters of Artaud: language and the arts in the 1950s Museo Nacional Centro de Arte Reina Sofia. 64-80
  • BRADNOCK, LUCY, 2011. "Everywhere is front row center": Robert Alexander’s brochure for Instant Theatre. Getty Research Journal. 3, 209-214
  • BRADNOCK, LUCY and SINGH, RANI, 2011. Papa’s Got A Brand New Bag: Crafting an art scene. In: REBECCA PEABODY, ANDREW PERCHUK, GLENN PHILLIPS, RANI SINGH and LUCY BRADNOCK, eds., Pacific Standard Time: Los Angeles Art 1945-1980 Getty. 66-120
  • ALLAN, K.D., BRADNOCK, L. and TURVEY, L., 2011. For people who know the difference: defining the pop art sixties. In: PEABODY, R., PERCHUK, A., PHILLIPS, G., SINGH, R. and BRADNOCK, L., eds., Pacific standard time: Los Angeles art 1945-1980 Tate Publishing in association with the Getty Research Institute and the J. Paul Getty Museum. 124-182
  • BRADNOCK, LUCY, 2011. Putting California on the Map (review article) Art History. 34(5), 1057-1061
  • BRADNOCK, LUCY, 2010. Life in the shadows: towards a queer Artaud Papers of Surrealism. 8,
  • BRADNOCK, LUCY, 2005. Lost in translation? Nancy Spero / Antonin Artaud / Jacques Derrida Papers of Surrealism. 3,

Nottingham Interdisciplinary Modernism Research Network

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