Art History & Theory

Georgina studied art history at the University of Sydney, receiving the University Medal in her Honours year. She completed her PhD in 2010 with a thesis on doors and architectural space in eighteenth-century genre painting. Since 2006, she has taught art history and theory at the University of Sydney, and in 2011 joined the National Art School’s Art History Theory program.
Georgina was a Visiting Scholar at the Yale Center for British Art in New Haven, Ct, from October to December 2011, and regularly contributes lectures to the Art Gallery Society of New South Wales. Her recent publications include: ‘Rethinking vision in eighteenth-century paintings of the blind’, Art Theory as Visual Epistemology, ed. Harald Klinke (Cambridge: Cambridge Scholars Publishing, 2014), Fugitive forms and grand designs: 16th to 19th century drawings from the collection of Justice Roddy Meagher (Sydney: University Art Gallery, 2014) and “Looking back at Zoffany”, Art History 35, no 4 (2012).
She recently curated an exhibition of early modern drawings, Fugitive forms and grand designs: 16th to 19th century drawings from the collection of Justice Roddy Meagher at the University Art Gallery, University of Sydney and has worked as a researcher in photography at the Art Gallery of New South Wales

Dr. Molly Duggins’ interests lie in the visual and material culture of the British Empire.  Current publishing projects include edited volumes on nineteenth-century marine material culture and the Australian object in art history, as well as a monograph on albums and the colonial world.  Research for these projects has been supported through fellowships at the State Library of New South Wales, the Yale Center for British Art (CT, USA), the Strong Museum of Play (NY, USA), and the Winterthur Museum and Library (DE, USA).

Shane Haseman is an artist, writer, academic and occasional curator. He has exhibited extensively over a fifteen-year period both nationally and internationally. Selected exhibitions include: 2015 Performa Biennial, New York; 2006 Adelaide Biennial, Art Gallery of South Australia; ‘New 11’, Australian Centre for Contemporary Art, Melbourne; ‘Sympathy for the Devil’, Artspace, Sydney; ‘Post-Contemporary Painting’, Institute of Modern Art, Brisbane. Shane received his PhD from the University of Sydney, Department of Art History and Theory, with a thesis on the theory and practice of the Situationist International. He has written articles for Australian art journals and institutions, including the MCA and Artspace. Shane is co-director of KNULP Gallery and lecturer in the Department of Art History and Theory at the National Art School.

Jaime is an art historian and independent curator based in Sydney, and a lecturer in modern and contemporary art in the department of Art History and Theory and the National Art School. Her doctoral thesis completed at the University of Sydney (2012) was entitled ‘Impossible Topographies: the Spatial Art of Marcel Duchamp.’ She has a special interest in surrealist legacies and the nexus between the art/architectural object and 20th century philosophies of space. Her current research project is on the subterranean aesthetics of Marcel Duchamp and Georges Bataille.

Olivier graduated with a PhD in Sino-Japanese art relations from the University of Tsukuba, Japan. He is a historian and curator of art and visual culture from East Asia and Asian-Australian contexts. He is particularly interested in the role of art and aesthetics in social, political and environmental transformations. He has lectured in Art History at the University of NSW and the University of Tsukuba and Visual Communications at the University of Technology, Sydney.

Dr. Melinda Reid is an art history and theory educator, researcher, and writer. She has a PhD in Art, Media, and Design from the University of New South Wales. She lectures in a variety of subjects, including performance, art history and theory, photography and situated media, and museum studies, at the National Art School, the University of New South Wales, and the University of Technology, Sydney, She has acted as painting/studio assistant, research assistant, editor, subject matter expert, and curriculum developer to a range of Australian artist-academics. Her essays on performance art, visual culture, experimental pedagogies, and guilty pleasures have been published into a range of publications, including Hag Mag, the Journal of Aesthetics and Art Criticism, Mülk, Running Dog, Runway, Un Magazine, and Unlikely Journal for Creative Arts. Her writing has also been commissioned for exhibitions at Boxcopy, Firstdraft, Hazelhurst Regional Gallery, Lawrence Wilson Gallery, SCA Gallery, and UTS Art Gallery.

Christine Dean is an artist, educator and writer who has been exhibiting since 1988. In 2000 she was awarded a Pollock-Krasner fellowship and in 2001 undertook a residency at the 18th Street Arts Centre, Los Angeles as part of an Australia Council research grant. Over the past three decades the focus of Christine’s art practice has been to create relationships linking abstraction and typography with gender and sexuality.

In 1986 Christine completed a Bachelor of Arts at the University of Sydney majoring in Fine Arts; a Diploma in Secondary Art Education from Sydney Teachers College in 1989; a Graduate Diploma in Painting, Sydney College of the Arts in 1990; a Masters of Fine Arts, University of NSW in 2003 and a PhD from the University of NSW in 2010.

Select exhibitions include the Blake Prize, Blaxland Galleries, Sydney 1994; Parking, Casula Powerhouse 1995; Spirit + Place, Museum of Contemporary Art, Sydney 1996; Juice, Art Gallery of NSW 1997; Monochromes, University of Queensland Art Gallery 2000; Anita and Beyond, Penrith Regional Gallery 2003; Points of Departure, Tobey Fine Arts, New York 2007; Avoiding Myth & Message, Museum of Contemporary Art, Sydney 2009; Fabrik, Ian Potter Museum, Melbourne 2016; The Public Body 2.0, Artspace Sydney 2017; From the Collection, Penrith Regional Gallery, 2022; Thinking Through Pink, Wollongong Art Gallery, 2022; Braving Time, National Art School Gallery, 2022; The Party, UNSW Art & Design Galleries 2023; Qtopia 2023 and the Blake Prize, Casula Powerhouse 2024.

Collections include the Art Gallery of NSW, Artbank, Campbelltown Arts Centre, Blacktown Arts Centre, Casula Powerhouse, Macquarie University and Penrith Regional Gallery.

As well as graduating with a BFA from the National Art School, Josephine holds a BA and teaching degree in Languages and Literature. Her painting practice and research draws inspiration from the synthetist movement of fin-de-siècle post-Impressionism in France. She is particularly interested in the exploration of the depiction of interior space and the role of individual and collective cultural memory in embodied looking. Josephine has extensive experience in classroom and seminar teaching, and enjoys helping students critically engage with Art History and Theory as a platform for expanding their own creative practice.