Speakers
Ranging from museum directors to academics and curators, our speakers address why art history and culture matter
Dr Sussan Babaie
Andrew W. Mellon Reader in the Arts of Iran and Islam, The Courtauld Institute of Art
Why does food matter to Art History?
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Dr Alixe Bovey
Head of Research, The Courtauld Institute of Art
Why have giants walked the streets of London for more than 500 years?
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Prof. Aviva Burnstock
Professor and Head of the Department of Conservation and Technology,
The Courtauld Institute of Art
Is there more to discover about Botticelli’s ‘Trinity’?
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Dr Caroline Campbell
The Jacob Rothschild Head of the Curatorial Department and Curator of Italian Paintings before 1500, The National Gallery
What’s love got to do with Art History?
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Dr Marie Collier
Sackler Research Forum post-doctoral Fellow 2016-17, The Courtauld Institute of Art
Can Soviet Montage be considered Socialist Realist?
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Prof. Geoffrey Crossick
Professor of the Humanities, School of Advanced Study, University of London
Are reflectiveness and empathy neglected benefits of the arts?
Antony Eastmond
Dean and Deputy Director; A. G. Leventis Professor in the History of Byzantine Art
Why does the back of beyond matter?
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Dr Nigel Bamforth
Senior Conservator,
The Victoria and Albert Museum
John Goodall
Architectural Editor,
Country Life Magazine
Who’s the audience for architecture?
Theo Gordon
PhD student, The Courtauld Institute of Art
How does aggression feature in the art of Félix González-Torres?
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Dr Ketty Gottardo
Martin Halusa Curator of Drawings, The Courtauld Gallery
Was this Catherine de’ Medici’s own Game of Thrones?
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Dr Fern Insh
Mellon Digital Research Forum Project Officer,
The Courtauld Institute of Art
What is the digital future of Art History?
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John Kannenberg
Founder, The Museum of Portable Sound
Why Listen to Museums?
The Museum of Portable Sound
Dr Klara Kemp-Welch
Lecturer in 20th Century Modernism, The Courtauld Institute of Art.
How can art be a form of politics outside politics?
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Dr Elizabeth Kutseko
Associate Lecturer in the History of Dress, The Courtauld Institute of Art
What is distance?
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Sue Latimer
Manager, Harris Museum, Art Gallery & Library, Preston
Why should the Courtauld be relevant to regional audiences?
Stephen Witherford
Witherford Watson Mann Ltd, architects of Courtauld Connects
Courtauld Connects — Can old stones support new ambitions?
Eleanor Nairne
Curator, Barbican Art Gallery
Jean-Michel Basquiat: intuitive or intellectual?
Dr Scott Nethersole
Lecturer in Renaissance Art, The Courtauld Institute of Art
Is there more to discover about Botticelli’s ‘Trinity’?
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Dr Karen Serres
Schroder Foundation Curator of Paintings, The Courtauld Gallery
Is there anything left to see in Seurat and van Gogh?
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Prof. Sarah Wilson
Professor of Modern and Contemporary Art, The Courtauld Institute of Art
Why should we look at art in Europe today?
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Prof. Joanna Woodall
Professor in the History of Art, The Courtauld Institute of Art
When is a portrait a work of art?
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Fiontán Moran
Assistant Curator, Tate Modern
Live? Ways of seeing historic performance in the museum
Prof. Caroline Arscott
Professor of 19th-century British Art, Courtauld Institute of Art
Why does Poynter’s lion frown?: Israel in Egypt 1867.
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