Prior to joining the University's Department of Cultural, Media, and Visual Studies as an Assistant Professor in 2018, I held roles as Lecturer in Modern and Contemporary Visual Culture and Associate Research Fellow at Birkbeck College, University of London, and Teaching Fellow in Art History and Theory at the Slade School of Fine Art, UCL. In addition to my academic appointments, I have worked with commercial galleries in London and directed contemporary art engagement events in the UK.
I specialise in modern and contemporary art history and theory in Britain and America. I am particularly interested in how the historical past has been visualized by artists working in the 1980s and beyond. My research also often applies analytic models derived from historiography, narratology, and literary theory to its study of the visual arts.
Neo-Victorian studies, with a particular interest in the visual arts
Connections between literary and art theory
Relationships between art and science
Contemporary art and memory studies
Modern and contemporary Black art histories
Histories of display
Current PhD supervisions:
Lu Zhang, 'The Exotic Fashion of Chinese Art in British Displays'
Ridwa Horreh, 'Share, Like and Repost: A qualitative study exploring Black female social media influencers view on the Black female sexuality and sexual identity'
Memberships and Board positions:
Editorial Advisory Board Journal of Historical Fictions
Academic Advisory Board Languages, Texts and Society
Advisory Board PoCo Page, Presses universitaires de la Méditerranée
My teaching considers how visual artists respond to various socio-political context(s) in the modern and contemporary period. Several of my research interests inform my teaching approach, including… read more
My research explores how contemporary artists engage with marginalized, obscure, or traumatic historical narratives. Concerned with artists' formal approaches towards representing the past, my work… read more
My teaching considers how visual artists respond to various socio-political context(s) in the modern and contemporary period. Several of my research interests inform my teaching approach, including the interrogation of established forms of narrative, creative appropriations of methods from other disciplines - such as anthropology, physics, and ethnography - histories of display, visual approaches to the construction (reconstruction, and deconstruction) of race, and histories of epistemology and science.
Courses and modules that I've taught include:
Science in Art: 1900 to the present (BA)
Black Art in a White Context: display, critique, and 'the Other' (BA)
Institutional Critique and the Critique of Institutions (BA)
Art and Science: from the Renaissance to the contemporary (BA)
The Power of Display (BA)
Visualizing Conflict (MA)
Visualizing the Victorians (MA)
Criticism and Display (MA)
Image and Identity (MA)
I am also involved in anti-racism and EDI work at the University through my role as EDI lead for the Department of Cultural, Media, and Visual Studies, School EDI Committee member, Race Equality Charter working group member, and coordinator of several initiatives that aim to help improve a sense of inclusivity for our Black, Asian, and other ethnically diverse student body. These include the introduction of a department-level Cultural Inclusivity Student Council and School-level Inclusivity Ambassadors, as well as their associated staff-student forums. I've also initiated student-led projects, such as a Student E-Profile pastoral platform, and partnered with BACKLIT Gallery, Nottingham, to create a student-led podcast project focused on discussions of race, heritage, and the lived experiences of its participants.
My research explores how contemporary artists engage with marginalized, obscure, or traumatic historical narratives. Concerned with artists' formal approaches towards representing the past, my work applies literary and historiographic models, such as intertextuality, metafiction and narrativity, to the study of a broad range of visual media including installation, performance, painting, and photography.
This research originated in my PhD thesis, which produced three articles, and is currently being developed into the forthcoming monograph Visualizing the Victorians: The Nineteenth Century in Contemporary Art (Palgrave Macmillian), which considers the work of artists including Mat Collishaw, Polly Morgan, Ingrid Pollard, Tessa Farmer, Mark Dion, and Dorothy Cross. The book examines contemporary visual responses to and revivals of nineteenth-century technologies, crafts, collections, and historical narratives. Particular areas of interest include: contemporary uses of Victorian visual technologies, such as magic lanterns; the recent emergence of taxidermy as a contemporary medium; appropriations of historical forms of collecting, preservation, and display; and visual re-presentations of marginalized and colonial histories.
I am also interested in how histories of enslavement have been visualized by artists in the last two decades. For this strand of my research I have produced a volume chapter on the work of Glenn Ligon, Carrie Mae Weems, and Lorna Simpson in relation to narratology (Routledge, 2019), and am currently completing a study of how Kara Walker's collages from the early 2000's perform an historiography of American story-making.
Elstob, I. (Forthcoming) Visualizing the Victorians: The Nineteenth Century in Contemporary Art (Palgrave Macmillan).
Elstob, I. (2020) '"The Spinster" and her Jellyfish: Dorothy Cross's 'Medusae' and historiographical storytelling', Visual Studies. DOI: 10.1080/1472586X.2020.1803125.
Elstob, I. (2019). '"The End is the Beginning and Lies Far Ahead":Time and Textuality in African American Visualizations of the Historical Past, 1990-2000'. In L. Aje, & N. Gachon (Eds.), Traces and Memories of Slavery in the Atlantic World. Routledge.
Elstob, I (2018). 'Visual Metafictions: Mark Fairnington's Mantidae and Victorian Representations of the 'Real', Journal of Neo-Victorian Studies.
Elstob, I. (2017). 'The Artist-Historian': Victorian Natural History in the Work of Mark Dion, Journal of Victorian Culture. DOI: 10.1080/13555502.2017.1359657.
Selected conference, panel contributions, and gallery talks:
2022. Keynote. 'Remagining the Victorians: Visualizing the 19th Century in Contemporary Art', Revisioning the Past: The Artist/Designer as Historian, University of Portsmouth and University of Bristol
2022. Panel Discussion. Ghost Empire: British Colonial Laws and LGBTQ+ Rights, University of Nottingham
2021. Keynote. 'Visualizing the Past: Us, Them, Now, Then', Annual Postgraduate Symposium, The Courtauld
2021. 'Phantasmagoria in the Work of Mat Collishaw', Theatre and Visual Culture in the Long Nineteenth Century, University of Exeter
2020. 'Seeing is Believing: Victorian visual technologies in contemporary art', Illumination: Perspectives on the Way of Light, Birkbeck College, London
2019. 'Mapping the Historical Past: time, place, and trauma in Ingrid Pollard's Oceans Apart, 1989', International Conference for (Neo-)Victorian Studies, Birkbeck College, London
2017. 'Material Histories: Collage as medium in Kara Walker's picture series, 2001-2005', Bluecoat 300: Slavery and Philanthropy, Liverpool
2017. Panel Discussion. Recovering Nineteenth-Century Women in the Digital Context, Birkbeck Arts Week
2016. ''Intertemporal Intertexts in African American Visual Arts, 1990-2000', Traces and Memories of Slavery in the Atlantic World, Montpellier University, Montpellier
2015. 'The Historical Impulse: The Representation of History in Recent Visual Art', Nottingham, Visual Cultures Research Seminar, University of Nottingham
2014. 'Representations of Sublime Nature: The Ocean in the Work of Dorothy Cross', British Waters and Beyond, Royal West of England Academy, Bristol
2013. 'The Plain and Leafy Fact: The Artistic Practice of Mark Fairnington', Neo-Victorian Cultures, Liverpool John Moores, Liverpool
2013. 'Astronomy and Geology, those terrible Muses! Michelle's Stuart's and the Natural Sciences', Djanogly Art Gallery, Nottingham