Name:

Dr Sarah Smith BA, MA, PhD

Job Title:

Reader in Visual Culture and Director of REF Development

Department:

Fine Art Critical Studies/Design History and Theory Profiles

Contact:

Image:

‘Cinépoetry,’ part of the Film Lounge programme at Stills Gallery Edinburgh, Sept-Oct 2010
Programmed by Sarah Smith

‘Cinépoetry,’ part of the Film Lounge programme at Stills Gallery Edinburgh, Sept-Oct 2010

Profile
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Dr Sarah Smith

Dr Sarah Smith is Reader in Visual Culture and Director of REF Development at The Glasgow School of Art. Sarah has a BA in Fine Art Painting from the National College of Art and Design, Dublin (1994), an MA in Film Studies from University College Dublin (1995), and a PhD in Artists’ Moving Image from University of Glasgow (2007). Her research interests are in the broad area of visual culture, with particular groundings in art history and film studies and her specialist areas are artists’ moving image and feminist art. Sarah regularly publishes her research in peer reviewed journals such as Screen, Sculpture Journal and Feminist Media Studies and is currently completing a monograph on the relationship between artists’ moving image and cinema to be published by Bloomsbury in 2020. She is on the Editorial Advisory Board for the Women’s Studies section of Cambridge Scholars Publishing, frequently peer reviews for academic publishers and journals, such as Bloomsbury, Yale University Press, Screen Bodies, Open Screens and Feminist Media Studies and has served as juror and panel member for various professional and research awards and prizes. In addition to peer-reviewed academic contexts, her research is disseminated through a variety of public platforms such as curatorial and programming projects, gallery and cinema talks, exhibition catalogue essays, magazine articles and reviews. Sarah is a member of REF2021 Panel 32: Art and Design: History, Practice.

Sarah welcomes PhD proposals on the subjects of artists’ moving image, experimental film and feminist art.

Select Publications
Cinema in the Gallery: The Movies in Artists’ Film and Video (London: Bloomsbury, 2020), forthcoming

‘The Art of Maximal Ventriloquy: Femininity as Labour in the Films of Rachel Maclean’ in Lucy Reynolds (ed.), British Women Experimental Filmmakers (London: Bloomsbury, 2019)

‘Posing as Art: The Ambiguities of Feminist Body Art and the Misclassification of Natacha Merritt’s Pornographic Photographs,’ Feminist Media Studies, Vol. 17, no.5, Oct 2017

‘Sculpting Irishness: A Discussion of Dublin’s Commemorative Statues of Oscar Wilde and Phil Lynott,’ Sculpture Journal, Vol. 21, no.1, Spring/Summer 2012

‘Lip and Love: Subversive Repetition in the Pastiche Films of Tracey Moffatt,’ in Screen, Vol 49, no. 2, Summer 2008, pp.209-215

‘Ireland in the 1940s and 1950s: The Photographs of Bert Hardy,’ article in Field Day Review, Issue 1, 2005

Conference Recent Papers and Convening

Chair for pre-constituted panel, ‘A Little Hungry, A Little Thirsty: Contemporary Art, Writing, Form and Practice’ College Art Association (CAA) annual conference, New York, 12-15 February 2017

‘Post-Feminism’s Confessional Mode as Discursive Decoy: The Misclassification of Natasha Merritt,’
Console-ing Passions Conference, Dublin, 18-20 June 2015

Council for Higher Education in Art and Design (CHEAD) Regional Seminar on ‘The Role of Critical and
Contextual Studies in Art School Education in Scotland,’ 16 April 2015. I designed and led this event,
which has participants from each of Scotland’s four main art schools as well as various delegates from
around the UK.

Slurs, Stutters and Screams: Articulations of Hollywood’s Unconscious in Artists’ Films, College Art
Association (CAA) annual conference, Chicago, 12-15 February 2014

‘Feminist Authorship and Found Footage Film: The Case of Susan Hiller’s Psi Girls,’ part of a pre-constituted panel on Female Authorship and Film for the Media, Communication and Cultural Studies Association (MeCCSA) annual conference, University of Ulster, Derry, 9-13 Jan 2013

Session Convenor: ‘The Discursive Space of Artists’ Films,’ Association of Art Historians Conference
(AAH), University of Glasgow, 2010 (with Dr Maeve Connolly, Dun Laoghaire Institute of Art, Design
and Technology and Dr Sarah Neely, University of Stirling)

‘The Rhetoric of Porn in Feminist and Postfeminist Art: From Critique to Complicity,’ Porn Cultures: Regulation, Political Economy and Technology, University of Leeds, June 2009

Current PhD Students:

• Marcus Jack: Primary Supervisor (topic: Mapping a History of Artists’ Moving Image in Scotland), AHRC/SGSAH-funded studentship, Sept 2018 - present
• Danilo Barauna: Primary Supervisor (topic: Queer Phenomenology and Artist Moving Image Installations), CAPES, Brazilian Government Doctoral studentship, Jan 2018 – present
• Ren Garden, Primary Supervisor (topic: Improvisation in Animation Films), AHRC/SGSAH-funded studentship, Sept 2018-present
• Lynda Devenney, Primary Supervisor (topic: From Prop to Sculpture: The role of the object in artists’ moving image practices), Sept 2017-present
• Laura Edbrook: Co-supervision with Department of Creative Writing, University of Glasgow (topic: Creative Critical Writing as Art Practice, September 2012 – present (part-time).

PhD Supervision Completions:


• Dawn Worsley, Primary Supervisor (topic: Performing Fiction as Critical Practice), 2014 – 2019 (part-time)
• Dr Aimee Mollaghan: Co supervision with Department of Film and Television, University of Glasgow (topic: Visual Music in Experimental Film from the 1910s – 1970s), 2007-2011. This thesis was published in monograph form as The Visual Music Film (2015) by Palgrave.

Current Professional Memberships

• College Art Association (CAA)
• European Network for Cinema and Media Studies (NeCS)