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.
My area of expertise lies primarily in histories of American art, criticism, and curating post-1945, with a particular emphasis on the intersection of visual art and experimental theatre; assemblage and beat culture; 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.
I am an Associate Fellow of the Higher Education Academy (AFHEA).
My teaching focuses primarily on American art, criticism and curating post-1945, in particular the relationship between art, politics, and protest; museums, exhibition histories and curatorial practice; and alternative or countercultural sites of artistic production and display.
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, Institutional Critique, Exhibition Histories and Practices (MA), Visualising Conflict (MA), and 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.
My book, No More Masterpieces: Modern Art After Artaud is forthcoming from Yale University Press. It presents an analysis of American art of the 1950s to the 1970s through the lens of the US… read more
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.
I 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, gender and sexuality, discourses of regionalism or provincialism and their relation to creative economies, and topics that relate to art centres and cultural networks beyond New York.
I have acted as supervisor for 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, "Feed Your Head: Conceptual Art and Counterculture in America" (Midlands3Cities funded project, lead supervisor).
- Lucy Mounfield, "Vivian Maier: the Amateur Photographer" (Midlands3Cities funded project, second supervisor)
My book, No More Masterpieces: Modern Art After Artaud is forthcoming from Yale University Press. It presents an analysis of American art of the 1950s to the 1970s through the lens of the US reception of the French writer Antonin Artaud.
I am currently developing two new projects: one that examines discourses of regionalism and the frontier narrative in American art and criticism from the 1950s to the present day; and one on semi-fictional autobiography in American art of the 1970s and 1980s.
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, which I co-edited and co-authored.
Between 2011 and 2015 I was co-Director of the international research initiative Lawrence Alloway: Critic and Curator, which comprised several symposia, workshops, and a programme of visiting researchers to the Getty Research institute. The project culminated in an award-winning collection of scholarly essays.