- You've got until 5pm tomorrow to apply for 1 day/wk Communications Assistant with SCAN - share please! #artjobs https://t.co/QrSS3DR7Lm
- You catch Kate Davis work 'charity' @StillsEdinburgh this summer,or @LUXmovingimage? Amy Tobin delves into the work https://t.co/4NuvQUKCll
- After oil boom, @RCloughton considers value of art in Aberdeen -incl @AnatomyRooms where SCAN have event next wkend https://t.co/Z5Kb4xAAsd
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Alexandra Ross is Lecturer in Contemporary Art and Curating at the University of Glasgow, also teaching on the M.Litt in Curating with Glasgow School of Art. She has taught and supervised at undergraduate and postgraduate level at universities throughout the UK and has recently been accepted on the advisory faculty of Transart Institute, New York. She read an honours law degree at the University of Edinburgh (2004), followed by a Masters in Museum and Gallery Studies, University of St Andrews (2005), and a Master of Fine Art, University of Dundee (2006). From June 2014-January 2015 she was Curatorial Fellow with ATLAS Arts, on the Isle of Skye. In May 2015 she is invited tutor at Vessel Curatorial Retreat, Bari, Italy and writer in residence Skaftfell (2015 & 2016), Centre for Visual Art, Seydisfjordur, Iceland.
From 2015 to 2017 she was Postdoctoral Research Fellow with Centre for Curating the Archive, the University of Cape Town. Ross is recognised as a specialist in the exploration of the nuance and scope of conversational activity within curatorial critique and practice. In particular, her work explores the notion of critical conviviality as a vital and rich space that sits at the nexus of critical debate and hospitable generosity. With this, she plays with the conventions of tapping into and gathering the interstitial moments of recording and documenting curatorial and artistic process.
She completed a PhD in the field of curatorial practice exploring the scope and efficacy of conversation-as-method within curatorship and the capturing of its history. The fieldwork of this practice-led investigation into curatorial conversation focused on Manifesta 8, European Biennial of Contemporary Art; the 54th Venice Biennale; and Glasgow International Festival of Visual Art. The biennial provided a rich context in which to situate her research, although this was not the exclusive domain of investigation: also including curatorial education; virtual, international networks; and experimental choreographed environments.
She has worked in a variety of organisations including, IZIKO, South African National Gallery (Cape Town), Manifesta 7 (Bolzano), Bonhams Auctioneers (Edinburgh), and the Fruitmarket Gallery (Edinburgh).
She works largely collaboratively with artists, choreographers, dancers, and educators assessing the boundaries, language and genealogy of curatorial practice. Forthcoming projects include a ‘Polyphonic Essay on Memory’ for NEoN Digital Arts Festival in November and she is also working on a publication on Dieter Roth and his time in Seyðisfjörður, East Iceland.