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Image of Amy Concannon

Amy Concannon

History of Art PhD student (part-time), Faculty of Arts

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Biography

BA (Joint Hons) History and Art History, University of Nottingham (2006)

MA History of Art, Courtauld Institute of Art (2010)

PhD research: AHRC-funded CDP on 'Urban Landscape Imagery, c.1820-50' co-supervised at the University of Nottingham by Nicholas Alfrey (Art History) and Prof. Stephen Daniels (Geography) and at Tate Britain by Dr David Blayney Brown.

Seven years after first graduating from Nottingham, I returned in October 2013 to begin doctoral research on a part-time basis via the AHRC-funded Collaborative Doctoral Partnership (with Tate Britain). Since 2012 I have been Assistant Curator for British Art, 1790-1850 at Tate Britain. Before this held I roles as Assistant Curator and Exhibitions Officer at Dulwich Picture Gallery, London, and spent three years as Exhibitions and Publications Officer for the Wordsworth Trust, the Centre for British Romanticism, in Grasmere, Cumbria.

I have project-managed and curated numerous exhibitions and displays across a wide range of topics, from focused single-room displays on Titian, Constable and topographical views of the Lake District to large-scale loan exhibitions and their international tours, most recently Tate Britain's Late Turner: Painting Set Free (2014-15).

Although my primary interest lies in British art and society of the long nineteenth century, my professional experience has led me to give talks, lead tours and deliver academic papers on diverse topics, furnishing me with an expanse of art-historical interests that ranges across the work of Old Masters to twentieth-century modernists.

Expertise Summary

I am a specialist in eighteenth- and nineteenth-century British art and visual culture with emphasis on landscape and works on paper with 10 years' curatorial and exhibitions management experience in UK museums.

Research Summary

The 'unnatural' landscape: urban landscape imagery in Britain, c.1820-50

My doctoral research emerges from my long-held interest in British landscape art, which first took root during my undergraduate studies at Nottingham. It considers urban landscape imagery, a category which has been much overlooked, in a period of time, c.1820-50, that saw unprecedented urbanization, social change, political reform and 'railway mania' wreak transformations on the British landscape. With these changes came new subjects and representational challenges for artists. I analyse in tandem products of national and local artistic and literary networks - sketches, prints, paintings, maps and topographical literature - to ascertain the projected identity of subject matter and maker, seeking to better understand the visual culture of the urban landscape.

My study has so far progressed in two main areas: firstly, Constable's urban subjects (my PhD was prompted in part by 2013's acquisition by Tate and regional partners of his major six-foot painting of 1831, Salisbury Cathedral from the Meadows); secondly, a series of related case studies on selected urban locales: Brighton, a watering place; the metropolitan fringe of Lambeth; Bristol, a port town; and the cathedral city of Salisbury.

Intersecting the established field of cultural geography, the regenerating field of topographical studies and throwing fresh light on works by artists well-known as much as little-studied printmakers, this study aims to redress an imbalance in and significantly broaden our understanding of a dynamic period in British landscape art and culture.

Co-edited books

David Blayney Brown, Amy Concannon and Sam Smiles (eds.) Late Turner: Painting Set Free, Tate, London 2014, 224pp.

Peer-reviewed texts

Contributions to Transforming Topography, British Library online (forthcoming)

John Constable: Salisbury Cathedral from the Meadows, In Focus, Tate Online Research Publication (forthcoming 2016)

'Whalers Sketchbook c.1845', catalogue entry, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Online Research Publication (forthcoming 2016)

6 catalogue entries in Penelope Curtis (ed.), Tate Britain Companion: A Guide to British Art, Tate, London 2012, 224pp.

Review articles

Brothers in Art: Drawings by Watts and Leighton, Watts Gallery, 17 Nov. 2015-19 Feb. 2016, Watts Gallery', British Art Journal (forthcoming 2016)

Other

500-word account of career in Marcia Pointon (ed.), History of Art: A Student's Handbook, Routledge, London 2014, 182pp.

School of Cultures, Languages and Area Studies

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