I hold a BA (Hons) in English and Art History and an interdisciplinary Master’s degree in Literature and Visual Culture 1700 – 1900 from the University of Sussex. My MA dissertation, supervised by Professor Lindsay Smith, titled ‘Feeling Into the Image: Haptic Visuality and Empathic Proximity in Nineteenth-and Early-Twentieth-Century Women’s Photography’, considered portraits by Julia Margaret Cameron, Clementina Hawarden, Gertrude Käsebier and Imogen Cunningham in relation to the gendered dynamics of vision.
After graduating in 2015 I worked with Photoworks, HOUSE Festival and Brighton Photo Biennial in various freelance roles and ran an evening course on feminist interventions in art history at The New School of Art.
In the year prior to beginning my doctoral research I worked as a curatorial assistant and research technician for the Dalziel Project, an AHRC-funded project based at the University of Sussex and the British Museum about the most substantial wood engraving firm in Victorian London: Dalziel Brothers (active 1839 -1893).
Together with Terence Pepper I edit the Instagram account ‘Sisters of the Lens’, a celebration of unknown and little-recognised amateur and professional women photographers working between 1840 – 1940 (www.instagram.com/sistersofthelens).
June – July 2017: Associate Tutor, ‘The Royals: The British Monarchy Through Art and Architecture,’ International Summer School, University of Sussex
January – March 2017: Convener and Lecturer, ‘Sisters of the Palette: Art History and Feminism,’ The New School of Art, Brighton and London
June – July 2016: Associate Tutor, ‘The Royals: The British Monarchy Through Art and Architecture,’ International Summer School, University of Sussex
January – May 2016: Visiting Lecturer in Art History, Brighton College
February 2016: Visiting Lecturer in Creative Writing, University of the Creative Arts, Farnham
As a collaborative doctoral student, I work closely with the National Portrait Gallery’s collection and archive. My PhD conducts a reappraisal of the importance of women’s professionalised photographic work (Britain, 1888 - 1938) to histories of artistic production and histories of labour through a feminist framework.
My research is funded by the Arts and Humanities Research Council.
· Nineteenth and early-twentieth-century photography
· Commercial photography
· Feminist theory and approaches to art history
· Archival theory and research
· Histories of gender and labour
· Collaboration, collectivity and networks