Dr. Alexandra Kokoli
Senior Lecturer in Visual Culture - Fine Art
Feminist art history, theory and practice; intersectionality; postcoloniality and decolonisation; psychoanalysis; the cultural and political uses of the ‘woman artist’ as a distinct classification; domesticity; visual activisms; Greenham Common.
1. Dr. Bronwyn Platten
‘Mouths and Meaning: A multi-sensory, creative and collaborative arts based exploration of food, eating and embodiment towards gaining greater understanding of the experience of eating disorders’, Health and Care Infrastructure Research and Innovation Centre (HaCIRIC), Department for the Built and Human Environment, University of Salford, 2012.
2. Dr. Paul Thompson
‘An examination of the physical and temporal parameters of printmaking practice through the exploration and application of digital processes in making and cultural shifts in digital participation’, RGU, 2014.
3. Dr. Felicity Allen
‘Creating the "dis-oeuvre": Interpreting feminist interventions as an expanded artistic practice in negotiation with art's institutions’, Middlesex University, 2016.
4. Dr. Caroline Gausden
‘Feminist Manifestos and Socially Engaged Practice’, RGU, 2017.
5. Helen Bendon
‘The artist as historyteller within museum and heritage sites’, Middlesex University, 2018.
See also: https://mdx.academia.edu/AlexandraKokoli
The Feminist Uncanny in Theory and Art Practice (Bloomsbury Academic, 2016; paperback 2017) ISBN 9781472505583 [Review: Amy Tobin, 'Homesickness', Oxford Art Journal (2017) 40 (1): 199-203. DOI: https://doi.org/10.1093/oxartj/kcx013]
Tate in Focus: Susan Hiller’s From the Freud Museum, with a contribution from Joanne Morra, (Tate Research, 2017) ISBN 978-1-84976-532-9, http://www.tate.org.uk/research/publications/in-focus/from-the-freud-museum-susan-hiller
Articles in Peer-reviewed Journals
‘Undoing “homeliness” in feminist art: Feministo: Portrait of the Artist as a Housewife (1975-7)’, n.paradoxa: international feminist art journal, vol. 13: Domestic Politics (Jan. 2004), pp. 75-83.
‘On Probation: “Tracey Emin” as Sign’, Wasafiri, vol. 25, no. 1 (March 2010), pp. 33-40.
‘Remembering, Repeating and Working Through in Anniversary – An Act of Memory by Monica Ross and Co-Recitors (2008-)’, Performance Research, vol. 17, no. 5 (2012) ‘On Duration’, pp. 24-30. http://dx.doi.org/10.1080/13528165.2012.728436
‘The voice as uncanny index in Susan Hiller’s The Last Silent Movie’, The Art Journal, vol. 72, no. 2 (summer 2013), pp. 6-15. http://dx.doi.org/10.1080/00043249.2013.10791027
‘“Not a straight line by a spiral”: charting continuity and change in textiles informed by feminism’, Image & Text, no. 23 (2014), pp. 110-129. http://www.imageandtext.up.ac.za/images/files/issue23/23_2014_not_a_straight_line_by_a_spiral_charting_continuity_and_change_in_textiles_informed_by_feminism.pdf
[co-authored with Aaron Winter], ‘What a girl’s gotta do: The labour of the biopolitical celebrity in austerity Britain’, Women and Performance: A Journal of Feminist Theory, vol. 25, no. 2 (2015), pp. 157-174. DOI:10.1080/0740770X.2015.1057015
‘Pre-emptive Mourning Against the Bomb: Exploded Domesticities in Art Informed by Feminism and Anti-Nuclear Activism’, Oxford Art Journal, 40:1, 2017, pp. 153-168. https://doi.org/10.1093/oxartj/kcx004
‘Free Lunch with the Stench Wench: Towards a Synaesthetics of Poverty and Shame in Catherine Hoffmann’s performance’, Hypatia, special issue Gender & the Politics of Shame, 33:3. Early view online publication Jan 2018. https://doi.org/10.1111/hypa.12399
Chapters in Books
‘Laura Mulvey, Visual Pleasure and Narrative Cinema (1975)’, ‘Griselda Pollock and Rozsika Parker, Old Mistresses. Women, Art and Ideology (1981)’, and ‘Hélène Cixous, The Laugh of the Medusa (L'écriture feminine) (1975)’ (approx. 5,000 words in total), in Diana Newall and G. F. Pooke (eds.), Fifty Key Texts in Art History (London: Routledge, 2012).
‘Sisters’, in Rachel Dickson (ed.), Judy Chicago (and Louise Bourgeois, Helen Chadwick, Tracey Emin), (London: Ben Uri in association with Lund Humphries, 2012), pp. 169-177.
‘The “woman artist” as curatorial effect’, in Angela Dimitrakaki and Lara Perry (eds.), Politics in a Glass Case: Exhibiting Women’s and Feminist Art (Liverpool: Liverpool University Press, 2013), pp. 187-204.
‘Angry Melancholia: Towards a Performative Politics of Time in the Work of Monica Ross’, in Susan Hiller and Suzanne Treister (eds.), Monica Ross-Ethical Actions: A Critical Fine Art Practice (Sternberg Press, 2016), pp. 22-31.
‘Crossing Borders and Other Dividers in Western Europe and the British Isles’, in Maria Buszek and Hilary Robinson (eds.), Companion to Feminist Art (Blackwell, 2019) (accepted: May 2017)
‘Read my QR: Quilla Constance and the Conceptualist Promise of Intelligibility’, in Nick Aikens, Susan Lok and Sophie Orlando (eds.), Black Artists and Modernism: Conceptualism - Intersectional Readings, International Framings, e-book, Van Abbemuseum and L’Internationale Online, 2018 (accepted: May 2018)
‘Creative Tensions: Making (it), unmaking, and making do in textiles informed by feminism’, in Jennifer Harris (ed.), Companion to Textiles (Blackwell, 2019) (accepted: May 2018).
Exhibition Catalogue Essays
‘Frontiers: Gray’s School of Art’, RSA: New Contemporaries (Edinburgh: Royal Scottish Academy, 2010), pp. 62-64.
‘Moving Sideways and Other Sleeping Metaphors: Susan Hiller’s Paraconceptualism’, in Ann Gallagher (ed.) Susan Hiller (London: Tate Publishing, 2011), pp. 143-153.
‘Gray’s School of Art’, RSA: New Contemporaries (Edinburgh: Royal Scottish Academy, 2013).
‘Now, Then, and Again: Between Anniversary and HERitage’, commissioned essay for Liberties, curated by Day+Gluckman, Collyer Bristow Gallery, London, 2015.
‘The Ambiguous Ambivalence of Feminist Textiles’, in Sarah-Joy Ford (ed.), CUT CLOTH: Contemporary Textiles and Feminism (PO Publishing, 2017), pp. 60-65. ISBN: 978-1-910846-04-9
‘Do Textiles Think?’, in Efi Kyprianidou (ed.), Weaving Culture in Europe (Paphos: Nisos Publications), pp. 99-101. ISBN: 978-960-589-062-9
A. M. Kokoli (ed.), Feminism Reframed: Reflections on Art and Difference (Newcastle upon Tyne: Cambridge Scholars Publishing, 2007); electronic edition available. [Reviewed in The Art Book, vol. 16, no. 4 (November 2009), p. 40]
Susan Hiller, The Provisional Texture of Reality: Selected Texts and Interviews, 1977-2007, edited, introduced and annotated by A. M. Kokoli (Zurich: JRP|Ringier, 2009).
‘Key Works, 1970-2010’ (contributing editor), in Ann Gallagher (ed.) Susan Hiller (London: Tate Publishing, 2011), pp. 36-127.
Deborah Cherry and A. M. Kokoli (eds.), Tracey Emin: Art Into Life, with contributions by Gill Perry, Mark Durden, Glenn Adamson, et al. (London: IB Tauris, 2018).
Reviews, Interviews, Interventions
Contributor to The Art Book, Art History, n.paradoxa and The F-word, including:
‘Invasions and Fakes: Susan Hiller in conversation with Alexandra Kokoli’, in Sas Mays and Neil Matheson (eds.), The Machine and the Ghost: Technology and Spiritualism in 19th to 21st century Art and Culture (Manchester: Manchester University Press, 2013), pp. 103-122.
‘From Public Services to Public Women: A morality tale for the age of austerity’, The F-Word (April 2014). http://www.thefword.org.uk/features/2014/04/from_public_ser
‘The Dinner Party: Judy Chicago and the Power of Popular Feminism, 1970-2007, by Jane F. Gerhard [book review], Gender and History, vol. 27, no. 1 (April 2015), pp. 228-229.
[co-authored with Aaron Winter], What Bear Grylls can’t do: survivalist mediascapes in austerity Britain. Media Commons (http://mediacommons.futureofthebook.org/), In Media Res: A Media Commons Project (Nov. 2015). http://mediacommons.futureofthebook.org/imr/2015/11/22/what-bear-grylls-can-t-do-survivalist-mediascapes-austerity-britain