School of Cultures, Languages and Area Studies

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Image of Lucy Bradnock

Lucy Bradnock

Assistant Professor in History of Art, Faculty of Arts



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.

Expertise Summary

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.

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, 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.

Research Summary

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

Recent Publications

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"
  • Katherine Doniak, "Feed Your Head: Conceptual Art and Counterculture in America"
  • Lucy Mounfield, "Vivian Maier: the Amateur Photographer"
  • Nina Moeller, "Medieval Revival in Postmodern Spaces of Entertainment"

Current Research

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.

Past Research

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.

  • BRADNOCK, LUCY, 2019. In Focus: Blood of a Poet Box 1965-68 by Eleanor Antin Tate Online.
  • 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, LUCY, 2013. Exhibition review: Overdrive: L.A. Constructs the Future, 1940-1990 (J. Paul Getty Museum) The Burlington Magazine. 517-518
  • 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, 2011. Putting California on the Map (review article) Art History. 34(5), 1057-1061
  • PEABODY, REBECCA, PERCHUK, ANDREW, PHILLIPS, GLENN, SINGH, RANI and BRADNOCK, LUCY, 2011. Pacific Standard Time: Los Angeles Art 1945-1980 Getty.
  • 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,

School of Cultures, Languages and Area Studies

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