doctoral-research-groups/products/courtauld__groups.json

[
 {
  "school": "The Courtauld Institute of Art",
  "name": "Research Centres, Clusters, Series & Projects",
  "url": "https://courtauld.ac.uk/research/whats-on/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [],
  "flag": "索引页（Research Centres, Clusters, Series & Projects），非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Research Centres, Clusters, Series & Projects",
  "url": "https://courtauld.ac.uk/research/researchseries/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Our Research Centres exist to support and develop research in all areas of art. They offer a vibrant programme of lectures and conferences that feature leading scholars from around the globe, and funding opportunities for early career researchers.",
   "The Courtauld Centre for the Art of the Americas hosts, supports, and fosters advanced scholarship that thinks critically and creatively about American art in its broadest sense. From our unique perspective in Europe, we are exceptionally well-placed...",
   "The Manton Centre for British Art is the intellectual hub for art historians, curators, critics, artists and students nationally and internationally. Committed to the study of all periods and forms of British art and attending to artwork made in colo...",
   "Established in 2012 with a generous endowment from The Robert H. N. Ho Family Foundation, the Centre for Buddhist Art and Conservation is dedicated to interdisciplinary and trans-cultural research and the preservation of Buddhist cultural heritage. T...",
   "Research clusters reflect current research, enable new research, and support The Courtauld’s research strategy in serving as engines for collaboration, project development, impact and knowledge exchange, and grant capture. We envisage up to six research clusters, each running for a three-year period.",
   "A three-year programme of research, events and collaboration generating new ideas and understandings around the histories, meanings and legacy of English landscape painting, 1770-1830."
  ],
  "flag": "索引页"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "404 - Page Not Found",
  "url": "https://courtauld.ac.uk/research/research-areas/",
  "person_links": 0,
  "named_persons": [
   "Professor Dame Linda Colley"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Explore The Courtauld’s events, talks, exhibitions, lectures and courses. We welcome everyone with an interest in art and art history, from young people and families to academics and researchers.",
   "Join Hao Sheng, curator of Buddha|Nature, as they present the Xuzhou Collection of Buddhist Art, an extraordinary collection of pan-Asian Buddhist sculptures that has been on long-term loan at the Museum of Fine Arts, Houston. This public talk will a...",
   "Join us for a lecture from Professor Dame Linda Colley on Edward Gibbon",
   "Held on occasion of the upcoming edition of the Frieze Masters fair (14-18 October 2026), this panel discussion will offer the opportunity to discover some of the highlights of this year’s Spotlight section. With a particular emphasis on art from acr..."
  ],
  "flag": "404 空页"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Past Research Series and Projects",
  "url": "https://courtauld.ac.uk/research/archived-research-clusters-groups-projects/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "A Collaborative project between The Courtauld Institute of Art and Royal Museums Greenwich, supported by the Getty Foundation"
  ],
  "flag": "索引页（Past Research Series and Projects），非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "The Courtauld Centre for the Art of the Americas",
  "url": "https://courtauld.ac.uk/research/research-areas/the-courtauld-centre-for-the-art-of-the-americas/",
  "person_links": 25,
  "named_persons": [
   "Professor Jo Applin",
   "Dr Francesca Wilmott In",
   "Dr Alexandra Gerstein",
   "Dr Johanna Gosse",
   "Dr Johanna Gosse Watch",
   "Prof Dorothy Price",
   "Dr Esther Chadwick",
   "Dr Lucy Bradnock Reader",
   "Dr Esther Chadwick Senior Lecturer",
   "Professor David Peters Corbett Professor",
   "Dr Johanna Gosse Lecturer",
   "Dr Pia Gottschaller Reader",
   "Dr Sofia Gotti Lecturer",
   "Professor Dorothy Price",
   "Professor Robin Schuldenfrei Tangen Professor",
   "Dr Devika Singh Senior Lecturer",
   "Dr Ana Gabriela Rodr",
   "Dr Tilly Scantlebury Public Programmes",
   "Dr Frances Varley Associate Lecturer",
   "Dr Helena Vilalta Conesa Centre"
  ],
  "leader_hint": "Director (per person page): Professor Jo Applin",
  "emails": [],
  "direction_paras": [
   "The Courtauld Centre for the Art of the Americas hosts, supports, and fosters advanced scholarship that thinks critically and creatively about American art in its broadest sense. Since its formation in 2016 we have undertaken a rich roster of successful activities, including hosting an annual Postdoctoral Fellow, as well as visiting speakers, artists, writers, and scholars from around the world. Our goal is to leverage the Centre’s convening power as an international platform for new ideas and approaches, through a dynamic range of workshops, symposia, exhibition visits, and conversations that address the urgent questions facing our field today. We aim to strengthen and develop collaborations across the academy, art world, and beyond, foregrounding historically marginalised voices, histories, and practices, and ensuring the widest possible range of international participants.",
   "Our vision for the Centre for the Art of the Americas is to answer calls to recognise the colonial and nationalist imperatives that have shaped the field and to bring to bear decolonial and transnational approaches. At a time when academic freedom in the United States is increasingly under threat, and American history is an ideological battleground, the Centre’s location outside of the United States plays a critical role in its ability to convene scholars and students for challenging and intellectually ambitious discourse. The Centre thus serves as a major international platform for conversations on the past, present, and future of American art history.",
   "The community of students, scholars, and researchers affiliated with the Centre includes MA students, PhD students and postdoctoral fellows, as well as, Associate Lecturers, curators, and faculty drawn from across the departments of the History of Art, Curating, and Conservation at The Courtauld.",
   "The Courtauld Centre for the Art of the Americas organises a variety of conferences, lectures and workshops throughout the year. Here you will find an archive of past events.",
   "Prof Dorothy Price and Dr Esther Chadwick, Entangled Pasts 1768-Now (Royal Academy of Arts, London, 2024)"
  ],
  "flag": "中心（25 条人员链接，页上无具名主任）；Jo Applin 个人页自述 'Director of the Centre for the Art of the Americas'；粒度存疑，见 finding §4"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "The Manton Centre for British Art",
  "url": "https://courtauld.ac.uk/research/the-manton-centre-for-british-art/",
  "person_links": 29,
  "named_persons": [
   "Professor Dame Linda Colley",
   "Dr Flora Dunster's",
   "Professor Marsha Pearce",
   "Professor Steve Edwards Manton Professor",
   "Dr Silvia Rita Amato Conservation",
   "Dr Jessica Barker Senior Lecturer",
   "Professor Alixe Bovey",
   "Professor Aviva Burnstock Professor",
   "Dr Esther Chadwick Senior Lecturer",
   "Professor David Peters Corbett Professor",
   "Dr Elena Crippa Senior Curator",
   "Professor Dorothy Price",
   "Dr Pia Gottschaller Reader",
   "Dr Catherine Grant Reader",
   "Professor Mark Hallett",
   "Dr Kyle Leyden Lecturer",
   "Professor Lynda Nead Visiting Professor",
   "Dr Rachel Sloan Associate Curator",
   "Dr Jane Spooner Senior Lecturer",
   "Dr Barnaby Wright Deputy Head"
  ],
  "leader_hint": "Director: Professor Steve Edwards",
  "emails": [],
  "direction_paras": [
   "With a generous donation of £9.5million ($12million) from the Manton Foundation, the Courtauld established the Manton Centre for British Art in 2025.",
   "Named after British art collectors and philanthropists, Sir Edwin Manton and Lady Florence Manton, the Centre consolidates the Courtauld’s position as a world leader in the study of all aspects of British art, and marks the continued commitment of the Manton family to the understanding of British art through research and teaching.",
   "The Manton Centre for British Art is the intellectual hub for art historians, curators, critics, artists and students nationally and internationally. Committed to the study of all periods and forms of British art and attending to artwork made in colonial contexts and by diasporic communities, the Centre provides a platform for world-leading research and for teaching the next generation of British art professionals. The Centre organises lectures, conferences and workshops; awards scholarships; and hosts visiting fellows. The prestigious Manton Lecture is given annually by a leading figure in the field.",
   "The Courtauld’s innovative specialists in British art are members of the Centre helping to shape its activities and future development. The Centre operates as the base for students taking modules in British art as part of their MA degree and also provides a home for PhD students researching British art.",
   "Located at the Courtauld’s current campus Vernon Square, the Manton Centre will later be housed in purpose-designed premises at Somerset House, providing the physical and intellectual home for the Courtauld’s teaching and research on all aspects of British art.",
   "The Manton Centre also pursues collaborations with other scholarly and artistic institutions, both in the UK and internationally. In developing collaborations and partnerships, the Manton Centre engages all areas and periods of British art, and involves a wide range of interlocutors."
  ],
  "flag": "中心（29 条人员链接）；'The Centre is directed by Steve Edwards'；粒度存疑，见 finding §4"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "The Robert H.N. Ho Family Foundation Centre for Buddhist Art and Conservation",
  "url": "https://courtauld.ac.uk/research/research-areas/the-robert-h-n-ho-family-foundation-centre-for-buddhist-art-and-conservation/",
  "person_links": 4,
  "named_persons": [
   "Dr Sujatha Meegama",
   "Dr. Nick Swann",
   "Dr Bomin Su",
   "Dr Lan Pu Robert",
   "Dr Lan Pu",
   "Dr Thupten Kelsang Named"
  ],
  "leader_hint": "Dr Sujatha Meegama / Dr Lan Pu（页面具名）",
  "emails": [],
  "direction_paras": [
   "Established in 2012 with a generous endowment from The Robert H. N. Ho Family Foundation, the Centre for Buddhist Art and Conservation is dedicated to interdisciplinary and trans-cultural research and the preservation of Buddhist cultural heritage. The Centre provides a unique platform for teaching art history and conservation of Buddhist heritage, facilitating interdisciplinary research and fostering international collaborative initiatives, as well as organising conferences, workshops, and public lectures.",
   "Recognising the global significance of the vast cultural heritage of Buddhism in both Asia and in diasporic contexts, this Centre also oversees an innovative MA programme that combines, for the first time, the disciplines of Buddhist art history, its conservation, and Buddhism. Robert Y.C. Ho, chairman of the Ho Foundation, summarised the goals of the MA programme: “Until now, Buddhism and Buddhist art and its conservation have been studied separately. We are delighted to support the integration of these fields in a new programme that will impact not only on academia but also on the preservation of irreplaceable treasures around the world, treasures we see disappearing on a daily basis.”",
   "Begun in 2013 and relaunched in 2022, the MA programme builds upon extensive experience of The Courtauld’s Wall Painting Conservation MA programme with long-term projects and teaching in Asia – at sites in China, India, and Bhutan. One such initiative is the collaboration with the Dunhuang Academy in China at the Mogao Grottoes, a World Heritage site in northwest China.",
   "Supported by the Robert H.N. Ho Family Foundation Global, the MA in Art History and Conservation of Buddhist Heritage at The Courtauld Institute of Art is a one-year programme that focuses on the study, preservation, and appreciation of cultural heritage created for and connected to the beliefs and practices of Buddhism. Unique in its concept, this interdisciplinary course was developed to respond to Buddhist heritage under threat, filling an identified gap in conservation education by equipping students with the theoretical and ethical knowledge and skills to meet the challenges surrounding its study and conservation, and to expand the horizons of traditional art historical training.",
   "The Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation at the Courtauld Institute is delighted to announce its 2025–2026 Lecture Series, exploring the many aspects of Japanese studies in the UK and beyond. This year’s series is presented in collaboration with the Royal Asiatic Society (RAS), the Sainsbury Institute for the Study of Japanese Arts and Cultures (SISJAC), and the Courtauld Institute.",
   "The four lectures hosted at the Courtauld Institute will focus on Japanese Buddhist heritage, bringing together diverse perspectives from art history, Buddhist studies, conservation, and curatorial practice. Additional lectures will take place at the partner venues and will also be livestreamed from the RAS and SISJAC, with several events offered online only."
  ],
  "flag": "中心（依托 MA 教学）；粒度存疑，见 finding §4"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Art, Ecologies, Infrastructures",
  "url": "https://courtauld.ac.uk/research/art-ecologies-infrastructures/",
  "person_links": 22,
  "named_persons": [
   "Dr Lucy Bradnock Reader",
   "Dr Wenny Teo Senior Lecturer",
   "Dr Jessica Barker Senior Lecturer",
   "Professor Alixe Bovey",
   "Dr Esther Chadwick Senior Lecturer",
   "Dr Elena Crippa Senior Curator",
   "Professor Steve Edwards Manton Professor",
   "Professor Dorothy Price",
   "Dr Johanna Gosse Lecturer",
   "Dr Pia Gottschaller Reader",
   "Dr. Sarah Grandin Lecturer",
   "Dr Catherine Grant Reader",
   "Dr Tom Nickson Reader",
   "Professor Robin Schuldenfrei Tangen Professor",
   "Dr Rachel Sloan Associate Curator",
   "Professor Stephen Whiteman Professor",
   "Dr Meredyth Winter Lecturer",
   "Dr Tom Nowicki Young Senior"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "This cluster brings together faculty expertise in art and material culture that engages with ecology, environment, systems, and habitat, to develop new ways of thinking about art history through ecological and infrastructural approaches. It takes a broad social and intersectional perspective on ecological art histories, while foregrounding infrastructure as a method for interrogating the material, political, and symbolic intersections of human-built systems and natural environments. This approach attends to the ways in which infrastructure shapes relations—between bodies, technologies, environments, and institutions—and offers a lens through which to examine ecological entanglements, extractive histories, and power dynamics.",
   "The Art, Ecologies, Infrastructures research cluster proposes a set of questions that are both historical and methodological and that engage art and material culture across different chronologies and geographies:",
   "What does it mean to undertake an infrastructural approach to art history and what potential does it have to challenge existing art historical, institutional, conservation, or curatorial paradigms? How does an infrastructural approach intersect with other ecological and decolonial imperatives in art history?",
   "How have artists engaged critically with infrastructures and the relationalities that they engender? How have these practices informed research, writing and curating?",
   "What insight can art history bring to infrastructures of resistance—whether by supporting alternative systems, subverting dominant ones, or prefiguring new social imaginaries and collaborative systems?",
   "Marking the publication of Methods for Ecocritical Art History, edited by Olga Smith and Andrew Patrizio, this panel explores what an ecocritical approach can offer art historians, and what the interdisciplinary project of ecocriticism stands to gain..."
  ],
  "flag": "cluster（'brings together faculty expertise'），跨系聚合，无具名负责人"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Courtauld Trans-Asias",
  "url": "https://courtauld.ac.uk/research/courtauld-asias/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Courtauld is home to one of the largest groups of specialists in Asian art and architecture outside Asia, with leading specialists and postgraduate researchers across a wide range of geographic areas and time periods, working in art history, curating and conservation.",
   "At the heart of our work is what we call a ‘trans-Asias’ approach. Trans-Asias places Asia at the centre of its own art histories. A trans-Asian approach sees Asia as contiguous, but not continuous, recognising the multiple distinct cultural, linguistic, and religious worlds that constitute Asia in overlapping, transculturally interconnected ways. Through the lens of ‘trans-Asias’, received notions of ‘Asia’ are challenged, and a more complex Asia of encounters and interconnections between and across localities is explored. We embrace the methodological, conceptual, and human complexity of Asia, modelling a collaborative approach to bringing multiple specialisms into meaningful, research-driven dialogues.",
   "Courtauld Trans-Asia’s plays an active role in the Courtauld’s broader mission of decolonizing the discipline and curricula of art history, conservation, and curatorship through research, teaching, and public-facing activities that provide tangible narratives for decentring histories of global connectivity. Our research and teaching is unified by shared commitment to transdisciplinary and transcultural histories, which we believe are fundamental to a deeper understanding of Asian art.",
   "Among our faculty are specialists in contemporary East, Southeast, and South Asia; early modern China, East Asia, and the Persianate world; the Indian Ocean world from both South Asian and colonial British perspectives; Buddhist art, and early Islam. We work across a wide range of media, including painting, print, three-dimensional objects, architecture and landscape. In Conservation, we are building upon our long-standing strength in wall painting conservation in India with expertise in Chinese and Silk Road wall painting, heritage site conservation across Asia, and a new MA in Art History and Conservation of Buddhist Heritage. Many of our colleagues are also active curators, with recent and upcoming exhibitions at Tate Modern, the Royal Academy, and in international biennales."
  ],
  "flag": "方向叙述页（0 具名人员），非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Digital Art Histories Research Group #DAHRG",
  "url": "https://courtauld.ac.uk/research/digital-art-histories-research-group-dahrg/",
  "person_links": 7,
  "named_persons": [
   "Professor Stephen Whiteman Professor",
   "Dr Meredyth Winter Lecturer",
   "Dr Johanna Gosse Lecturer",
   "Dr Natalia Murray Lecturer",
   "Dr Tom Nickson Reader",
   "Dr Anne Puetz Head"
  ],
  "leader_hint": "cluster; faculty listed incl. Stephen Whiteman",
  "emails": [],
  "direction_paras": [
   "This cluster seeks to develop and support innovative research and practice around ‘the digital’ in art and architectural history, conservation and heritage, and curating at The Courtauld. We are particularly interested in art history’s growing entanglement with emerging technologies in ways that inflect our practice and discipline.",
   "#DAHRG’s intentional juxtaposition of digital media and methods across fields of research is intended to reframe and complicate our understanding of the digital. We envision this intersectional approach as a strategic investment in exploring the ever-growing influence of the digital on art and its scholarship, and as a means of bringing together researchers across the Courtauld and partner institutions, including those often situated at extremes of art historical periodisation, approach, and geography.",
   "How are computational methods and digital tools expanding the fields of art and architectural history and cultural heritage? What new questions are being explored through emerging technologies? How can we revise disciplinary bounds by treating the digital as both medium and method?",
   "How do these methods and tools cast the received practice of art history in new light, offering different perspectives on our sources, modes of analysis, and narratives of the past? Can the digital help us redress disciplinary biases and blind spots to offer models of a more inclusive art history?",
   "How does the study of digital art, including time- and process-based work, games, and experimental media, help inform broader art historical methods and methodologies?",
   "How are digital media offering new avenues for communication of research, including in museums, galleries, and heritage sites, scholarly publications, and the public humanities?"
  ],
  "flag": ""
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Graphic Arts Group",
  "url": "https://courtauld.ac.uk/research/researchseries/graphic-arts-group/",
  "person_links": 1,
  "named_persons": [
   "Dr. Mark Mc",
   "Dr. Sarah Grandin Lecturer",
   "Professor Chris Fischer"
  ],
  "leader_hint": "convened by: Sarah Grandin (Courtauld), Olenka Horbatsch (British Museum)",
  "emails": [],
  "direction_paras": [
   "The Graphic Arts Group is convened by Sarah Grandin, (the Courtauld), and by Olenka Horbatsch (The British Museum), and meets once a term to collectively examine and discuss works on paper from these two institutions, or at other London-based venues and occasionally abroad. The aim of the group is to examine prints and drawings, considered here in the broadest sense, both geographically and chronologically, and to investigate and discuss the materials, technologies, and cultural contexts of works on paper and graphic art.",
   "The Graphic Arts Group originated in 2006 in conversations between Mark McDonald, then curator in the Department of Prints and Drawings at the British Museum and Patricia Rubin, at that time Head of the Courtauld Institute Research Forum. The aspiration was to provide a regular opportunity for those interested in the graphic arts, broadly defined, to meet and to engage in conversation around objects in the Print Room. GAG benefited from the generosity of the Department of Prints and Drawings in opening its treasures to the group, after opening hours, and owed everything to Mark McDonald’s commitment to sharing those resources in active engagement.",
   "The group was open to students and staff from both institutions and to others with a special interest in prints and drawings. Participants were invited to suggest works and lead the discussion. As the sessions evolved, it was decided to set a broad theme. The conversational format fostered lively and informative exchange. The group composition was fluid and open, and it quickly attracted members with many different interests, revealing how central prints and drawings are to artistic practice and art historical understanding. The evenings always ended with supper at the local Turkish restaurant, where conversations continued. The connections between the members and their interests and their insights have informed research projects. Both founders are proud that GAG has continued and that its ethos of free and creative exchange has endured.",
   "Patricia Rubin, Professor Emerita, The Institute of Fine Arts, NYU; Honorary Research Fellow, The Courtauld",
   "Dr. Mark McDonald, Curator of Drawings and Prints, The Metropolitan Museum of Art, New York",
   "In May 2026, a visit focusing on metalpoint drawings in the British Museum’s current Early Netherlandish drawings exhibition was organised by Olenka Horbatsch. This was followed by a workshop on Renaissance metalpoint drawing at the Courtauld’s Vernon Square campus, which was led by Jon Long of the Renaissance workshop , during which participants were introduced to the technique and given the opportunity to practise drawing with metalpoint."
  ],
  "flag": ""
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Interrogating Heritage",
  "url": "https://courtauld.ac.uk/research/researchseries/interrogating-heritage/",
  "person_links": 22,
  "named_persons": [
   "Dr Caroline Levitt",
   "Professor Sussan Babaie Professor",
   "Professor Alixe Bovey",
   "Professor Antony Eastmond",
   "Dr Alexandra Gerstein Curator",
   "Dr Sofia Gotti Lecturer",
   "Dr Teresa Lane Head",
   "Dr Kyle Leyden Lecturer",
   "Dr Naomi Luxford",
   "Dr Maria Mileeva Senior Lecturer",
   "Dr Natalia Murray Lecturer",
   "Dr Tom Nickson Reader",
   "Dr Devika Singh Senior Lecturer",
   "Dr Jane Spooner Senior Lecturer",
   "Dr Tom Nowicki Young Senior"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "This cluster brings together staff from Art History, Conservation and the Gallery to explore intersections and divergences with Art and Architectural History as practised within and beyond the University and Gallery, especially in Heritage Management contexts. We explore the intellectual, economic , ethical and social benefits of collaborations with Heritage Management organisations, and the possibilities of engagement they bring. The cluster explores Heritage Management in a diverse range of contexts, but has an especially strong strand that focuses on issues and challenges in the study, preservation, and curation of religious and sacred heritage.",
   "In August 2026, the Interrogating Heritage Cluster visited The Cosmic House and Home House, London.",
   "The Cosmic House is one of the key landmarks in the development of Post-Modernist architecture. A hugely influential distillation of the ideas at the heart of Post-Modern thought in culture and science, it is a remarkable testament to the polymathic talents of Maggie and Charles Jencks.",
   "Home House, located at 20 Portman Square in Marylebone, is a spectacular 18th-century Georgian townhouse designed by architect Robert Adam. It served as the original temporary headquarters for the Courtauld Institute of Art, which was co-founded by the industrialist and art collector Samuel Courtauld."
  ],
  "flag": "cluster（'brings together staff from Art History, Conservation and the Gallery'），跨系聚合，无具名负责人"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Migrations: People, Politics, Objects",
  "url": "https://courtauld.ac.uk/research/researchseries/migrations-people-politics-objects/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": "Cluster Head: Professor Robin Schuldenfrei",
  "emails": [],
  "direction_paras": [
   "This cluster aims to define ‘migration’ in the broadest intellectual terms, in order to understand present cultural, political and legal frameworks, and the historic past. It seeks to bring together the study of artworks that explicate the conditions and economics of migration with objects and architecture, including infrastructure, related to the global movement of peoples. Through artworks, architecture, film, sociology, politics and philosophy, the notion of ‘migration’ will be examined, understood broadly. It will also consider topics related to borders, temporary shelter, networks and passages, geopolitical strife, notions of home, and diaspora.",
   "Future areas of investigation and discussions with active practitioners will include:",
   "architects, designers, and NGOs who provide shelter structures for displaced persons camps;",
   "documentary filmmakers tracking the conditions of migration and migrant workers (fruit pickers, etc.);"
  ],
  "flag": "cluster（有 Cluster Head 与成员页）；粒度存疑，见 finding §4"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Sculptural Processes Group",
  "url": "https://courtauld.ac.uk/research/researchseries/sculptural-processes-group/",
  "person_links": 4,
  "named_persons": [
   "Professor Jo Applin",
   "Dr Jessica Barker Senior Lecturer",
   "Dr Alexandra Gerstein Curator",
   "Dr Pia Gottschaller Reader",
   "Dr Jessica Barker",
   "Dr Ed Kr"
  ],
  "leader_hint": "convened by: Jo Applin, Alexandra Gerstein, Pia Gottschaller, Cathy Corbett",
  "emails": [],
  "direction_paras": [
   "The Sculptural Processes Group (SPG) is an informal study group set up in October 2007 to facilitate exchanges between researchers, curators, conservators, artists and practitioners interested in questions of sculptural practice. The SPG explores, through seminars, artist’s talks and site visits, various aspects of the creative, intellectual and material processes involved in making sculpture from the medieval to the contemporary. Membership is taken from a wide variety of practices and fields within the sphere of sculpture both within the UK and internationally, and mixes postgraduates with established scholars and experts in the field.",
   "The Sculptural Processes Group is convened by: Jo Applin, Alexandra Gerstein, Pia Gottschaller and Cathy Corbett (independent sculpture historian). It aims to enable its members to gain a more precise and nuanced understanding of the practical processes of sculpture through close examination of works and through discussion with colleagues from diverse backgrounds.",
   "Among the events we organise each year are a cross-period seminar bringing artists, conservators and art-historians into dialogue on a common theme, as well as handling sessions with sculptural objects from the V&A. We also host the SPG Annual Artist’s Talk, organised by Jo Applin and Pia Gottschaller. Speakers have included Alison Wilding, Raphael Hefti, Marc Quinn, Analia Saban and Frances Richardson. In addition to these fixtures, we have a roving programme of more ad-hoc events such as visits to artists’ studios and exhibitions, private collections, art schools and makers’ studios.",
   "★★★★★ \"A dazzling fresh take on a genius\" - The Times. This ambitious exhibition was the first to explore Barbara Hepworth's (1903 –1975) lifelong fascination with colour, which she used in highly original and unexpected ways.",
   "This major exhibition brings together the erotic and playful aspects of the work of Louise Bourgeois, Eva Hesse and Alice Adams to ask important questions about sexuality, bodies and humour.",
   "This display draws from the collections of The Courtauld and V&A to explore how different technologies of reproduction have shaped encounters with artworks since the 19th century."
  ],
  "flag": ""
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Art and Conservation of the Buddhist World",
  "url": "https://courtauld.ac.uk/research/art-and-conservation-of-the-buddhist-world/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Organised in collaboration with the Robert H.N. Ho Family Foundation Centre for Buddhist Art and Conservation. The Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation at The Courtauld was established by a generous endowment in 2012 from the Robert H. N. Ho Family Foundation.",
   "These events, part of The Courtauld’s Arts of the Buddhist World: Heritage and Conservation lecture series, aim to broaden our understanding of the contemporary and global challenges in the study, preservation, and appreciation of cultural heritage created and connected to the beliefs and practices of Buddhism."
  ],
  "flag": "活动系列（'These events, part of The Courtauld's Arts of the Buddhist World'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "The Courtauld x Asymmetry Chinese and Sinophone Contemporary Art Research Programme",
  "url": "https://courtauld.ac.uk/research/the-courtauld-x-asymmetry-chinese-and-sinophone-contemporary-art-research-programme/",
  "person_links": 1,
  "named_persons": [
   "Dr Wenny Teo",
   "Dr Feixuan Xu",
   "Dr Yayu Zheng",
   "Dr Wenny Teo Senior Lecturer"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "In 2022 The Courtauld and Asymmetry Art Foundation announced a new pioneering collaboration aimed at furthering and diversifying knowledge of Chinese and Sinophone contemporary art; consisting of two postdoctoral fellowships, a public lecture series, as well as an annual international symposium.",
   "The Asymmetry Lecture Series is an annual programme of artist talks, conversations and screenings that provide a platform for artists, curators and scholars of East and Southeast Asian heritage to share their research and practice with wider audiences, focusing on issues of transculturality and representation in the global contemporary.",
   "The Asymmetry Distinguished Lecture Series on Contemporary Chinese and Sinophone Art 2025.",
   "The Asymmetry Distinguished Lecture Series on Contemporary Chinese and Sinophone Art 2024",
   "The inaugural Asymmetry Distinguished Lecture Series on Contemporary Chinese and Sinophone Art",
   "Convened by Dr Wenny Teo, Senior Lecturer in Modern and Contemporary Asian Art, The Courtauld, and Michèle Ruo Yi Landolt, Director, Asymmetry."
  ],
  "flag": "资助计划（'consisting of two postdoctoral fellowships, a public lecture series, as well as an annual international symposium'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Frank Davis Memorial Lecture Series",
  "url": "https://courtauld.ac.uk/research/frank-davis-memorial-lecture-series/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Frank Davis Memorial Lecture Series was established in 1989 by the F M Kirby Foundation, in honour of Frank Davis, a critic for Country Life Magazine.",
   "The Frank Davis Memorial Lecture Series is one of two annual distinguished lecture series at The Courtauld. This series was established in 1989, as a result of a bequest from the F.M. Kirby Foundation, in honour of Frank Davis, who was a critic for Country Life magazine. The bequest has allowed The Courtauld to invite internationally renowned scholars to come to the institute to speak about their work in a public forum.",
   "Coinciding with Salman Toor: Someone Like You (The Courtauld Gallery, 2 October 2026 - 10 January 2027), Toor’s first solo museum show in Europe, the 2026/2027 Frank Davis Memorial Lecture series invites an international roster of academics, curators...",
   "Well over half a century of increasingly powerful computers and machine-generated information has fundamentally transformed our culture’s understanding of the relationship between technological tools and thought. In many ways cultural scholars have a...",
   "The Frank Davis Memorial Lecture Series 2024-25 will harness and contribute to a moment of unparalleled interest in Surrealism on the centenary of the publication of the Manifesto of Surrealism (1924), timed to begin as major exhibitions and events t...",
   "An early member of the BLK Art Group, a trailblazing figure in the Black British art movement and a pioneer of Black feminist art, Claudette Johnson (b. 1959) is one of the most significant figurative artists of her generation. Coinciding with Claude..."
  ],
  "flag": "讲座系列（自述 'one of two annual distinguished lecture series'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Medieval and Renaissance",
  "url": "https://courtauld.ac.uk/research/researchseries/medieval-and-renaissance/",
  "person_links": 9,
  "named_persons": [
   "Dr Jessica Barker Senior Lecturer",
   "Professor Alixe Bovey",
   "Professor Antony Eastmond",
   "Professor Susie Nash Deborah Loeb",
   "Dr Tom Nickson Reader",
   "Professor Guido Rebecchini Professor",
   "Dr Meredyth Winter Lecturer"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Medieval and Renaissance cluster brings together students and researchers interested in art and architecture made between c. 300 and 1500. Although our activities primarily focus on art from Europe (including Byzantium) and the Mediterranean basin, we are committed to expanding the geographic horizons of scholarship in our period, with current projects on art in sub-Saharan Africa and the Caucasus, as well as the interaction between religions and cultures across the medieval world. We seek to share interests and stimulate connections — whether expected or unexpected, whether relating to materials or methods. Our members include faculty, MA students and doctoral students, interested researchers from other UK and overseas institutions, including universities, museums, libraries and heritage sector.",
   "Our activities include the “Medieval Work in Progress Seminars” and “Renaissance Seminars”, two lively fora to present current and on-going work rather than completed research. Every year we host the ICMA lecture at The Courtauld (bringing in a major scholar from the USA to speak), and we organise regular handling sessions through “Medieval Touch” with colleagues at the National Gallery, British Library, British Museum and Victoria and Albert Museum to ensure that we keep a close focus on original objects and works of art; alongside these we hold reading groups to think about the theoretical questions that inform the ways in which we interpret the material we are studying.",
   "Our digital projects include The Gothic Ivories Project (an online database of ivory sculptures made in Western Europe ca. 1200-ca. 1530, as well as neo-Gothic pieces), as well as Medieval Art Research (a source for news on events, jobs, publications and other goings-on in the world of medieval art history)."
  ],
  "flag": "cluster（'brings together students and researchers'），跨系聚合，无单一具名负责人"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Professorial Lectures",
  "url": "https://courtauld.ac.uk/research/professorial-lectures/",
  "person_links": 0,
  "named_persons": [
   "Professor Sussan Babaie",
   "Professor Martin Caiger-",
   "Professor Dorothy Price",
   "Professor Alixe Bovey",
   "Professor Antony Eastmond Read",
   "Professor Joanna Woodall Read",
   "Professor Joanna Cannon Read",
   "Professor Christine Stevenson Read",
   "Professor Susie Nash Read"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Courtauld Professorial Lectures showcase research by a number of The Courtauld’s distinguished professors. In recent years, we have been pleased to see our speakers receive the title of Professor for their commitment and contribution to teaching and research. In this series, we celebrate these achievements and reflect with them on the stakes of their research and their individual fields.",
   "Professor Dorothy Price FBA, Professor of Modern and Contemporary Art and Critical Race Art History"
  ],
  "flag": "讲座系列（'The Courtauld Professorial Lectures showcase research by ... distinguished professors'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Sacred Traditions and the Arts",
  "url": "https://courtauld.ac.uk/research/researchseries/sacred-traditions-and-the-arts/",
  "person_links": 0,
  "named_persons": [
   "Dr Jess Wood",
   "Dr Jessica Barker",
   "Dr Claire Gilbert",
   "Dr Sheona Beaumont",
   "Dr Andrew Rumsey",
   "Dr Heather Munro",
   "Dr Karen Skinazi",
   "Dr. Sujatha Meegama",
   "Dr. Ankur Barua",
   "Professor David Ekserdjian"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The seminar on Sacred Traditions and the Arts is a joint venture between the Department of Theology and Religious Studies at King’s and The Courtauld. It seeks to place researchers in dialogue who are working on any aspect of the sacred and visual culture. It is open to all scholars and students who have an interest in exploring the intersections of religion and art regardless of period, geography or tradition.",
   "Join us for this Sacred Traditions & the Arts seminar, where artists Jacqueline Nicholls and Dr Jess Wood will explore the relationship between arts practice and traditional Jewish texts including Torah, Talmud and Midrash.",
   "Join this Sacred Traditions & the Arts seminar where Dr Jessica Barker and Dr Claire Gilbert discuss the exhibition Living by the Rule (Sainsbury Centre, Norwich), which presents medieval monastic art in dialogue with contemporary works.",
   "Join us for this Sacred Traditions & the Arts seminar, where artist Dr Sheona Beaumont and theologian Dr Andrew Rumsey will explore how images -particularly photographs - along with ideas of pilgrimage, sanctuary and lived faith, can shed new light o...",
   "In this meeting of the Sacred Traditions & the Arts seminar, Dr Heather Munro and Dr Karen Skinazi will give papers on the role that visual and performance art play in the lives of Ultra-Orthodox Jewish women",
   "Join the Sacred Traditions & the Arts seminar as Dr. Sujatha Meegama explores kingship in early modern Sri Lanka through rare ivory carvings and Dr. Ankur Barua delves into the paradox of divine love in Hindu devotional poetry, with insights into the..."
  ],
  "flag": "研讨会系列（'The seminar on Sacred Traditions and the Arts is a joint venture between ... King's and The Courtauld'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Research Notes",
  "url": "https://courtauld.ac.uk/research/research-notes/",
  "person_links": 0,
  "named_persons": [
   "Dr Bert Watteeuw"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "A series of events inspired by the Courtauld Gallery exhibition programme.",
   "Join us for a round table discussion on the theme of colour in the work of the sculptor Barbara Hepworth",
   "Join Dr Bert Watteeuw for a lecture on Peter Paul Rubens’s late landscapes, marking the temporary reunion of the Courtauld Gallery’s own Landscape by Moonlight (1635—40) with the Barber Institute of Fine Art’s A Landscape Near Het Steen (1635—40), th...",
   "Bringing together art historians and curators, join us for this conference, which will explore various approaches to the complexities of bringing to light artists long overlooked by art history.",
   "To coincide with the temporary exhibition at the Courtauld Gallery, this event will bring together researchers to look afresh Thiebaud’s work, putting it into dialogue with that of other American artists who were interested in vernacular things and p..."
  ],
  "flag": "活动系列（'A series of events inspired by the Courtauld Gallery exhibition programme'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Generation Landscape",
  "url": "https://courtauld.ac.uk/research/generation-landscape/",
  "person_links": 3,
  "named_persons": [
   "Professor Steve Edwards Manton Professor",
   "Professor Mark Hallett",
   "Dr Rachel Sloan Associate Curator"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "We are delighted to announce that the Paul Mellon Centre for Studies in British Art and the Manton Centre for British Art at the Courtauld are working together on a three-year programme of research, events and collaboration generating new ideas and understandings around the histories, meanings and legacy of English landscape painting, 1770-1830.",
   "Comprising seminars, lectures and workshops organised at the Manton Centre, and a national programme of curatorial research and programming funded by the Paul Mellon Centre in partnership with Ipswich Museums, Bristol Museum & Art Gallery, and Turner Contemporary, Margate, ‘Generation Landscape’ will offer expansive new ways of thinking about English landscape painting now, freshly informed by questions of regionality, nationhood and identity, eco-critical perspectives, and the creative potential of imaginative and literary methodologies for reshaping art history.",
   "With the completion of the online catalogue of the Turner Bequest at Tate, supported by the Paul Mellon Centre and launched with a major international conference, Turner 250 at Tate, this is a watershed moment for the study and understanding of the contribution of English landscape painting within the wider contexts of European and world culture. ‘Generation Landscape’ will bring art historians, curators, academic researchers and creative voices together to think afresh about this significant moment in art history, when a generation of emerging artists created paintings and graphic works offering bold and often experimental new visions of nature, the landscape and the purpose of art itself – and why these images continue to carry such imaginative force today.",
   "Sarah Turner, Director of the Paul Mellon Centre, said “Collaborating to support a vibrant infrastructure of research is at the heart of the PMC’s approach. Through our funding, we are really delighted to bring together the convening potential and academic expertise offered by the Courtauld’s new Manton Centre with our partners at museums and galleries in Ipswich, Bristol and Margate. This partnership is going to build on the foundations of the extraordinary body of scholarship that already exists on artists such as Turner and Constable and support a new generation of curators, researchers and artists to engage with it and shape different and original responses for audiences today. “",
   "Steve Edwards, Director of the Manton Centre at the Courtauld, said “Sir Edwin Manton built an art collection centred around the important generation of English landscape painters: Constable, Gainsborough, Girtin, Turner, and others. Collaboration between the Manton Centre and the Paul Mellon Centre for Studies in British Art, establishes a dialogue with the artists at the heart of his interests to consider the meanings and values that have shaped Britain. Generation Landscape will support and promote new scholarship and curatorial work concerned with landscape and nature, providing an exciting opportunity to place contemporary research in conversation with a moment when both British art and British society were undergoing profound change.”",
   "‘Generation Landscape’ is a three-year programme of research and events organised by the Paul Mellon Centre for Studies in British Art and the Manton Centre at The Courtauld. For more about the programme, and for information about previous events on the theme, see here."
  ],
  "flag": "项目（'a three-year programme of research'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Courtauld and English Heritage Partnership for Conservation",
  "url": "https://courtauld.ac.uk/research/courtauld-and-english-heritage-partnership-for-conservation/",
  "person_links": 2,
  "named_persons": [
   "Dr Jane Spooner Senior Lecturer"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "English Heritage cares for an incredible wealth of wall paintings and the Courtauld has supported their work over many years through research and practice. A new collaboration has recently been formalised focusing on the conservation of the wall paintings at Longthorpe Tower in Peterborough. Hidden under layers of limewash until 1945, the wall paintings are an extraordinarily survival from the 14th century and one of the most important and complete mediaeval secular schemes in northern Europe. The paintings depict an exceptional array of scenes that mix religious and didactic themes with morality tales, heraldry, local birds, mythical creatures and a rare depiction of the Wheel of Five Senses. The scheme offers insights into the priorities and ambitions of a socially aspirational family, and a very personal view of the mediaeval world.",
   "Working in collaboration with English Heritage and building on investigations carried out by The Courtauld in the 1990s, the department is carrying out a project to conserve the paintings at the Tower. This partnership will enable access to research, expertise in wall painting care as well as cutting edge facilities at the Courtauld, and invaluable range of fieldwork experiences for generations of conservation students.",
   "Conservation of the wall paintings at Longthorpe Tower in a biennial programme with a comprehensive recording, investigations, intervention and long-term management plan.",
   "In-depth analysis and research throughout the project with The Courtauld‘s expertise and knowledge of specialist diagnostic and analytical techniques.",
   "Closely supervised in situ training for Courtauld wall painting conservation Masters students, learning skills in recording, investigations, analysis and interventions, within an ethical and technical framework.",
   "Retrieval and collation of the substantial archival records and analytical data pertaining to the scheme, both at the Courtauld and English Heritage, as well as at the Royal Society of Antiquaries."
  ],
  "flag": "合作项目（partnership for one site），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Courtauld and National Trust Partnership for Conservation",
  "url": "https://courtauld.ac.uk/research/courtauld-and-national-trust-partnership-for-conservation/",
  "person_links": 4,
  "named_persons": [
   "Professor Aviva Burnstock Professor"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Courtauld and National Trust have enjoyed a longstanding collaboration over many years, which has provided access to collections for research and conservation treatment to generations of conservation students and researchers. As a consequence of this access, National Trust paintings have been studied and conserved at The Courtauld using practices informed by innovative research in conservation, and knowledge about these collections has been deepened by research into the materials and techniques of these works.",
   "The Courtauld and National Trust Partnership for conservation will formalise this collaboration, enabling access to cutting edge analytical facilities at the Courtauld for shared research projects, and access to National trust properties and collections for research and conservation studies.",
   "An annual visit of Courtauld students to a National trust property for an in-depth preventive conservation study visit, learning about strategies for collections care, with access to National Trust experts.",
   "Paintings from National Trust collections travel to the Courtauld for study and conservation by students, enabling in-depth research and connecting with other initiatives, such as Painting Pairs, or the recent investigation of a group of Servants’ portraits from Erddig where analysis was also carried out in situ",
   "Shared research goals and mutual support for conservation research into sustainability in conservation and greener conservation practice.",
   "Researcher access to materials archived at the Courtauld from National Trust collections, including historic paint samples, IRR images and x-ray films."
  ],
  "flag": "合作项目（partnership），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "The Cultural History of Asian Art Project",
  "url": "https://courtauld.ac.uk/research/the-cultural-history-of-asian-art-project/",
  "person_links": 2,
  "named_persons": [
   "Prof Sussan Babaie",
   "Prof Stephen Whiteman",
   "Professor Sussan Babaie",
   "Professor Stephen Whiteman"
  ],
  "leader_hint": null,
  "emails": [
   "sussan.babaie@courtauld.ac.uk",
   "stephen.whiteman@courtauld.ac.uk"
  ],
  "direction_paras": [
   "Led by series editors Prof Sussan Babaie, Professor of the Arts of Iran and Islam, and Prof Stephen Whiteman, Professor of the Art and Architecture of China, the Cultural History of Asian Art (CHoAA) project represents the most ambitious history of the arts of Asia published in English to date. Drawing on a team of over 60 editors and authors working across six volumes, CHoAA incorporates emerging methodologies and approaches to present new interpretations of the arts across East, West, South, Southeast, and Central Asia over the last 2500 years. It offers an innovative vision of Asian art for scholars, students, and general readers alike. A Cultural History of Asian Art will appear with Bloomsbury Publishing in 2028.",
   "CHoAA takes what we term a ‘trans-Asias’ approach to the study of Asian art. Trans-Asias seeks to interpret art through the lens of transcultural connectivity and concurrence while also being rooted in the particularities of the local. As such, trans-Asias offers a framework for exploring the arts of Asia that accounts for trans-cultural and trans-historical circulation and connection, rather than seeing art as fundamentally of one culture or one nation. Trans-Asias deploys contextual perspectives in order to prioritise the collaborative expertise of multiple researchers across disciplines and cultural and linguistic specialisms to better understand the ways in which art is necessarily and simultaneously of ‘one place’ and ‘multiple places’.",
   "The volumes will share a number of broader thematic concerns and contextual perspectives, including mobility, connectivity, materiality, spatiality, faith and belief, attention to the totality of humanity, authenticity, and temporality. Deploying these overarching perspectives will encourage the authors to look beyond conventional binaries such as religious vs secular, civic vs political, and popular vs elite; to be alert to issues of gender, race, and ethnicity throughout; and to think in new ways about the construction of culturally situated meaning through art.",
   "Recognizing the impossibility of a comprehensive history of Asian art, CHoAA takes a very broad approach to defining ‘arts’ and invites authors and readers to think across media, and social and cultural contexts, rather than being constrained by conventional categories. Socio-political contexts serve as the animating framework for the series as a whole. Examples include art and its meaning within Asia’s diverse religious cultures, such as Islam, Hinduism, or Buddhism; practices of collecting and displaying art across different social and spatial contexts; technological developments in artistic production; the evolving relationship between the arts and sciences; image making as representing gender, class, race, and ethnicity; and the role of conflict, war, and disaster in histories of art.",
   "Organised by Professor Sussan Babaie, Professor in the Arts of Iran and Islam and Professor Stephen Whiteman, Professor of the Art and Architecture of China",
   "For any questions, please contact the series editors, Sussan Babaie (sussan.babaie@courtauld.ac.uk) and Stephen Whiteman (stephen.whiteman@courtauld.ac.uk)."
  ],
  "flag": "出版项目（'a team of over 60 editors and authors working across six volumes'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "East Wing Biennial",
  "url": "https://courtauld.ac.uk/research/east-wing-biennial/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "“The walls of the institution were completely bare, which is ironic considering it is an institution for the teaching of art history.”Joshua Compston",
   "The East Wing Biennial is the Courtauld’s student-led exhibition of contemporary art. Established in 1991 as the East Wing Collection, the Biennial brings the Institute’s student body into direct contact with contemporary art to broaden learning and stimulate discourse. Organised entirely by Courtauld students, the exhibition reflects the ideas, concerns, and creative ambitions of its student body.",
   "Now in its 16th edition, the East Wing Biennial carries with it a legacy of bolstering emerging and established artists across disciplines. Closely associated with the rise of the Young British Artists, early editions featured artists such as Damien Hirst and Gilbert & George. More recent exhibitions have featured Tracy Emin, Paula Rego, Rachel Whiteread, Grayson Perry and Martha Rosler, among others.",
   "The Institute’s move to Vernon Square and the subsequent cancellation of the 2020 Biennial left its future uncertain. It’s 2023 revival with the 15th edition, Vernon Square 1: Embodiment, introduced a new generation of students to the Biennial’s mission: to connect the study of art history to contemporary practice, offering students the opportunity to shape curatorial narratives, gain hands-on experience, and engage directly with the art of their time.",
   "Join us for the opening party of The Courtauld Institute's 16th East Wing Biennial, under the theme of RE:VISION. Through a wide-ranging selection of contemporary artwork and an exciting slate of events throughout 2025-2027, RE:VISION urges audience...",
   "The VS1: Embodiment launch event, to be held on the 22nd September, will celebrate the opening of the 2023 East Wing Biennial. The event will include guided tours of the exhibition, performance art pieces, and talks from the exhibition directors and ..."
  ],
  "flag": "学生主导展览（'the Courtauld's student-led exhibition of contemporary art'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "GoGreen Project",
  "url": "https://courtauld.ac.uk/research/gogreen-project/",
  "person_links": 8,
  "named_persons": [
   "Prof Katrien Keune",
   "Professor Aviva Burnstock Professor",
   "Dr Nathan Daly Conservation Scientist",
   "Professor Austin Nevin Clare Richardson"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The EU-Funded GoGreen project promotes preventive and remedial conservation practices based on green principles to spearhead the green revolution within conservation.",
   "Heritage conservation preserves the tangible remains of society, but relies on toxic, unsustainable materials and on energy-consuming air conditioning of collections. The EU-Funded GoGreen project promotes preventive and remedial conservation practices based on green principles to spearhead the green revolution within conservation. The Conservation Department at The Courtauld will contribute to the development of preventive conservation for easel and wall paintings, the application and assessment of cleaning methods for easel paintings, and the development of teaching modules.",
   "develop new damage functions that allow more flexible environmental control in collections, thus improving energy efficiency.",
   "generate innovative nature-inspired, bio-based and historical conservation treatment-inspired methods for remedial conservation, including new cleaning solutions for paintings using green solvents, bio-inspired reagents, green delivery systems.",
   "assess our new materials and methods using cutting-edge analytical techniques and benchmark methods in collaboration with expert practitioners and museums, to determine their efficacy in the cleaning of painting",
   "develop a digital web-app to aid conservators in the design of green preventive and remedial conservation treatments, and a decision model integrating green thinking in complex conservation decision making."
  ],
  "flag": "项目（'The EU-Funded GoGreen project'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Mongol Connections",
  "url": "https://courtauld.ac.uk/research/mongol-connections/",
  "person_links": 16,
  "named_persons": [
   "Professor Sussan Babaie",
   "Professor Shane Mc",
   "Dr. Adrian Locke",
   "Professor Sussan Babaie Professor",
   "Dr Amanda Caterina Leong Mongol"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "A traveling seminar project, housed at The Courtauld and supported by Getty through its Connecting Art Histories initiative",
   "The Courtauld has received a Connecting Art Histories grant supporting the Mongol Connections research initiative led by Professor Sussan Babaie.",
   "Mongol Connections is a travelling seminar run by Professor Babaie in partnership with Professor Shane McCausland at the School of Oriental and African Studies (SOAS) and Dr. Adrian Locke at the Royal Academy of Arts (RA).",
   "Mongol Connections approaches histories of the arts of the Mongol era (13-14th centuries) as intersecting, connecting, and competing histories of objects, artists, and technologies, across the Eurasian expanse of the Great Mongol State. The seminars will bring together scholars, conservators, archaeologists, and cultural heritage professionals from Mongolia, East, West and Central Asia with leading subject specialists from the U.S. and Europe. The traveling network will convene in Mongolia (2025), Uzbekistan (2026) and the United Kingdom (2027), with the programme to include study of archaeological sites and objects along with scholarly presentations at each area’s leading academic institutions. The travelling seminar will create a network of researchers of all career stages from multiple localities along the Mongol routes, to generate new collaborative and interdisciplinary research.",
   "The Getty grant has also made possible the addition of a Postdoctoral Fellow at The Courtauld who will be project managing with Professor Babaie and will conduct research and teaching at The Courtauld for the duration of the grant, from 2024 to 2027."
  ],
  "flag": "项目（'A traveling seminar project'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "The National Wall Paintings Survey",
  "url": "https://courtauld.ac.uk/research/researchseries/the-national-wall-paintings-survey/",
  "person_links": 1,
  "named_persons": [
   "Professor David Park"
  ],
  "leader_hint": null,
  "emails": [
   "wallpaintingsurvey@courtauld.ac.uk"
  ],
  "direction_paras": [
   "The National Wall Paintings Survey is a vast and internationally important archive, comprising records of all known British medieval wall paintings as well as extensive material on post-medieval schemes of painted decoration. Set up by Professor David Park in the early 1980s, the Survey documents the nation’s most lavish courtly and ecclesiastical murals alongside paintings in more humble contexts.",
   "Encompassing photographic records, conservation reports and previously unpublished art-historical research, as well as some 2,500 original paint samples, the archive constitutes an exceptional record of the condition of our wall paintings and forms an essential point of reference, both for art-historical scholarship and for those charged with the ongoing care of these works. Of particular interest is material bequeathed from the records of such pioneering wall painting conservators as E. W. Tristram and Eve Baker, the exquisitely illustrated research notes of renowned antiquarian Edward Croft-Murray, as well as Muriel Carrick’s comprehensive documentation of domestic decorative schemes.",
   "Keen that this important resource be made more accessible to all those who work on wall paintings, The Courtauld has embarked upon a project to catalogue, digitise and make the Survey archive available online. Supported by grants from the Paul Mellon Centre, Pilgrim Trust and Marc Fitch Fund, this ongoing initiative seeks to preserve the Survey archive and to disseminate research into the conservation of Britain’s mural heritage. Working in partnership with The Courtauld’s extraordinary community of volunteers, the Survey has now been fully catalogued and a selection of the material held digitised. We are working hard to complete this process so that this important resource can be made widely accessible to all.",
   "We are always keen to attract new contributions to the Survey to ensure that it remains a dynamic and up-to-date record of the nation’s mural heritage. Get in touch with us by emailing wallpaintingsurvey@courtauld.ac.uk.",
   "Explore the creation, rediscovery, and conservation of the remarkable fourteenth-century wall paintings from Longthorpe Tower, Peterborough. This display reveals how the Courtauld and English Heritage are working together to preserve one of Britain’s most complete medieval decorative schemes.",
   "Join us for this symposium to mark the culmination of the first major phase of the grant-funded digitisation project to make the National Wall Paintings Survey publicly accessible through a dynamic new online database"
  ],
  "flag": "调查项目（national survey），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Conserving Canvas Project [Archived]",
  "url": "https://courtauld.ac.uk/research/conserving-canvas-project/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "A Collaborative project between The Courtauld Institute of Art and Royal Museums Greenwich, supported by the Getty Foundation",
   "From the 1960s and 1970s onwards, The Courtauld Institute of Art and Royal Museums Greenwich (RMG) worked together at the forefront of developments in lining methods for paintings. Westby Percival-Prescott, Head of the Paintings Conservation Department at RMG from 1961-83, worked closely with Stephen Rees Jones and Gerry Hedley from The Courtauld to adopt the innovative methods developed there, including the use of a vacuum hot table and vacuum envelope for lining. Over a number of years, the two institutions worked in partnership to re-assess the way paintings were commonly lined and form a new philosophy on lining which held ethical decision-making and a minimalist approach at its heart. It was partly because of this friendship that Percival-Prescott proposed the first conference solely focused on the structural conservation of canvas supports: the ‘Comparative Lining Techniques’ conference, which was held at Greenwich in 1974. The research delivered at this conference, such as Percival-Prescott’s key-note speech ‘The Lining Cycle’ would influence many of the conservators in attendance and would inform contemporary attitudes to lining for years to come.",
   "As part of the Getty Foundation’s ‘Conserving Canvas Initiative’ launched in 2018, a fresh period of collaboration between the RMG and the Courtauld became possible. Conservators from both institutions came together once again to design a project which would not only recover and re-examine the institutions’ joint history but also inform future collection care.",
   "For an explanation of the lining process and what it involves, follow this link to the RMG website. What does ‘lining’ a painting mean? | Royal Museums Greenwich (rmg.co.uk)",
   "The primary aims of the ‘Conserving Canvas’ project between The Courtauld and RMG were:",
   "to explore the history of canvas structural treatments between 1970–1990 at both partner institutions by examining the archival materials held at the RMG and The Courtauld and by interviewing participants of the Greenwich lining conference and former conservators who had been involved with either institution."
  ],
  "flag": "项目（'A Collaborative project between The Courtauld and Royal Museums Greenwich'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Green Education in Conservation",
  "url": "https://courtauld.ac.uk/research/green-education-in-conservation/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "GOGREEN is an EU-funded project developing sustainable, preventive, and remedial conservation practices. The Courtauld is leading Work Package 7 which targets advancing Green Education in Conservation. Project members have collaborated to devise a pedagogical programme which enables the integration of sustainability into conservation and conservation science education and practice.",
   "The programme modules address distinct challenges and sustainable practices across four core themes: • Leadership in green conservation • Determining material sensitivities and green decision-making • Green treatments and their assessment for paintings • Green treatments and their assessment for objects",
   "The programme’s thematic structure allows for focused instruction and practical application, supporting the smooth integration of the modules into educational curricula and professional development schemes. Each module is presented through a range of accessible and adaptable session templates, divided into themed blocks with suggested content, assessments, and activities."
  ],
  "flag": "项目工作包（'Work Package 7' of GoGreen），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Architecture Cultures [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/architecture-cultures/",
  "person_links": 3,
  "named_persons": [
   "Dr Tom Nickson",
   "Dr Sussan Babaie",
   "Dr Robin Schuldenfrei Spatial"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "This cluster included a vibrant scholarly community working on architecture and its visual culture, understood in its broadest sense. Research interests spanned vast periods and geographies. From modern and contemporary architecture and design to the gardens and landscapes of the Qing court; from urban development and architecture in Renaissance Rome to early modern Isfahan and Paris; from medieval Jewish, Christian and Islamic Toledo to the architecture of seventeenth-century London; from Byzantine and Georgian churches to the architecture of the British empire. We recognised the distinctive nature of architecture cultures, but saw these as part of visual and material culture more broadly. Our intersecting areas of enquiry in architecture, urban experience and landscape were both global and local, and concerned issues of design, ornament, sense perception, patronage, empire, postcoloniality, transmission, materiality, building technologies, digital modelling, restoration and historiography, among others.",
   "The Courtauld has a long history of teaching and research in architectural history, and with a lively community of visiting scholars and students at every level it has one of the largest concentrations of historians of urbanism, interior design, ephemera and architectural theory and practice in the world. We also enjoy scholarly connections with major local collections and institutions, including the Royal Institute of British Architects, the Society of Antiquaries of London, the Victoria & Albert Museum, the Warburg Institute, Sir John Soane’s Museum, the Royal Academy, and a number of architectural practices. We also benefit from access to the Conway Library (a vast photographic archive of architecture, sculpture and design) and The Courtauld Gallery’s important collection of architectural drawings."
  ],
  "flag": "cluster（archived），无单一具名负责人"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Connecting Cultures [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/connecting-cultures/",
  "person_links": 2,
  "named_persons": [
   "Dr Sussan Babaie",
   "Dr Scott Nethersole Brass"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "This cluster sought to explore connected histories of art from the thirteenth to the mid-nineteenth centuries, a period defined by increasing levels of transcultural interchange facilitated by human and material mobility and greater levels of economic, political, and cultural connectivity. The purpose was not to explore a world history of art, by which we may mean an effort for global coverage. Rather, the group was interested in the connections and networks that existed across presumed cultural boundaries, the interchange and admixture of materials, technologies, and ideas, and the reassessment of existing, nationally, regionally, or culturally defined histories of art that have emerged from the European national and colonial legacies upon which the discipline of art history was founded.",
   "The cluster was particularly interested in encouraging and supporting multicentred histories of art, resisting simplistic, unidirectional narratives of influence and acculturation in favour of those that reflect locality as well as globality, and that articulate the mutual agency and action inherent in processes of interchange. In this light, the cluster was also eager to encourage discussions of historiography and practice, particularly those surrounding the ethics and methodology of such histories, as well as contributing to an evolving definition of the ‘global’ in art history.",
   "The design of the group was intended to transcend the period-specific sections that previously characterised research groupings, drawing a straightforward line between the global as articulated in modern and especially contemporary art theory and the linkages between East and West, North and South, and everywhere in between that will lead to a more fruitful understanding of the broad period under question."
  ],
  "flag": "组（archived，'the group was interested in the connections'），无具名负责人"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Courtauld Cambridge Russian Research Centre (CCRAC) [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/courtauld-cambridge-russian-research-centre-ccrac/",
  "person_links": 0,
  "named_persons": [
   "Professor John Milner"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Cambridge Courtauld Russian Art Centre (CCRAC) was a joint initiative between the Department of History of Art, University of Cambridge, and The Courtauld Institute of Art, London, to provide a forum for the investigation of Russian and Soviet art. Founded by Dr Rosalind P. Blakesley (University of Cambridge) and Professor John Milner (The Courtauld Institute of Art) and with an advisory group of current and former graduate students, it aimed to stimulate debate, support collaborative work, and generate and disseminate research on all aspects of the visual arts, architecture, design, and exhibitions in Russia and the Soviet Union.",
   "The University of Cambridge and The Courtauld Institute of Art have both pioneered teaching in these areas. Research students and staff have also been involved in many ventures to take the study of Russian art and architecture further afield, through exhibitions, museum displays, work with schools, and the broadcast media. CCRAC builds on this expertise to provide a new focus for the investigation of Russian art, taking research and interest to a new level, while at the same time creating a dynamic interface between cutting-edge scholarship and the subject’s growing audiences outside academia.",
   "CCRAC aimed to facilitate, encourage and collaborate in promoting the study of Russian and/or Soviet art and culture, through conferences and comparable activities."
  ],
  "flag": "中心（archived，'a joint initiative between ... Cambridge and The Courtauld'），非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Courtauld Contemporary [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/courtauld-contemporary/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "It has been 10 years since the ‘Questionnaire on the contemporary’ was published in the fall issue of the journal October, featuring responses from a range of critics who largely centred their observations on the institutionalisation and periodisation of ‘contemporary art’ as an art historical category; globalisation and its discontents; and the impact of neoliberalism on cultural production and display. Yet, the ‘contemporary’ remains a highly contested term.",
   "Contemporary art has never been more popular, but what is its role today and what forces will shape its future? In an era of hyper-visibility, does contemporary art still have the capacity to engage with and challenge the critical issues that have come to define our contemporary moment? By bridging the gap between art historical scholarship and practice, this research cluster will facilitate an open dialogue between art historians, artistic practitioners, interdisciplinary scholars, students and the public at large, whilst highlighting The Courtauld’s leading research in the constantly evolving field of global contemporary art."
  ],
  "flag": "主题页（archived），无人员无负责人"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Critical Habitats",
  "url": "https://courtauld.ac.uk/research/researchseries/critical-habitats/",
  "person_links": 0,
  "named_persons": [
   "Dr Wenny Teo"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Critical habitats is a term that refers to the fragile ecosystems that endangered species rely upon to survive. Beyond its origins in the environmental sciences, the literary theorist Emily Apter has used it to describe ecologically-informed aesthetic practices that explore ‘the links between territorial habitat and intellectual habitus; between physical space and ideological forcefield, between economy and ecology.’ For Apter, these geo-poetic investigations provide a means of ‘denaturalising’ the illusion of friction-free globalism by providing a ‘grounded’ critical representation of specific sites of political, social and ecological struggle.",
   "This year’s Asymmetry Lecture series features a number of artists who engage with this conceptual framework in their practice, drawing attention to the politics of land, histories of labour and migration, environmental degradation and cultural displacement. Each of the invited artists have produced work in a variety of media, based on sustained periods of research and fieldwork into geographically diverse sites; including a wild horse nature reserve in the Chilcotin Plateau of British Columbia, infrastructural ruins in the former Manchuria, a sugar plantation on the island of Negros in the Philippines, and a floating Chinese restaurant off the coast of Stockholm.",
   "The invited artists will speak on a variety of themes, including the logistical challenges of gaining access to specific sites, collaborating with local governments and communities, and reflect on issues of translation, authenticity, ethnography and site-specificity.",
   "The Asymmetry Distinguished lecture series is convened by Dr Wenny Teo, Senior Lecturer in Modern and Contemporary Asian Art at The Courtauld, and Michèle Ruo-Yi Landolt, Director of Asymmetry.",
   "Following Asymmetry's recent collaboration with the CCA Berlin (Centre for Contemporary Arts Berlin) to present the public programme accompanying the exhibition 'Offerings for Escalante' by Enzo Camacho and Ami Lien, we are delighted to announce that...",
   "Artist and researcher Lee Kai Chung shares excerpts from his recent moving image work exploring the roles of intelligence operatives in British Hong Kong and Guangzhou during the Cold War, weaving in themes of historical erasure, colonialism, ecology..."
  ],
  "flag": "主题页（'This year's Asymmetry Lecture series features ...'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Crossing Frontiers: Christians and Muslims and their Art in Eastern Anatolia and the Caucasus [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/crossing-frontiers-christians-and-muslims-and-their-art-in-eastern-anatolia-and-the-caucasus/",
  "person_links": 3,
  "named_persons": [
   "Dr Antony Eastmond",
   "Dr Niamh Bhalla"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Crossing Frontiers was a travelling research seminar programme for Early Career Researchers interested in the medieval art and culture of the eastern frontier between Christianity and Islam, covering Anatolia, the Caucasus and the western Iranian world. The seminars travelled initially to eastern Turkey (July, 2016), Armenia (September, 2016) and Georgia (September, 2017) with the aim of investigating questions of cross-cultural exchange and international artistic production. This project was supported by the Getty Foundation as part of its Connecting Art Histories initiative, and it aimed to give emerging scholars the opportunity to visit and discuss a range of important monuments alongside a group of more senior advisors and mentors. The final research trip to Jerusalem ran in December 2018.",
   "A large component of the project was the interactive research tool and image repository that has been created by the project team. You can access more information on the project and images of the sites visited here.",
   "This project is organised by Dr Antony Eastmond, AG Leventis Reader in the History of Byzantine Art at the Courtauld Institute of Art; and is administered by Dr Niamh Bhalla.",
   "In the twelfth to fourteenth centuries four worlds met in the region of eastern Anatolia and the Caucasus: the Christian cultures of Anatolia (including Byzantines and Syriacs) and the Caucasus (principally the Georgians and Armenians, each allied to different Christian confessions), the Turkic cultures of Anatolia (the Seljuk Turks and other Turkoman groups), the Arabic culture of Syria that reached into northern Mesopotamia, and the Persian culture of Iranian Azerbaijan. The invasions of the Khwarazmians and then the Mongols in the 1230s and 1240s added yet more distinct ethnic, religious and cultural groups. All these societies were culturally vibrant and produced high quality works of art in the region, principally architecture, but also precious arts (ceramics, metalwork, manuscripts, etc.). These works of art are now divided by modern frontiers (Georgia, Armenia, Turkey, Azerbaijan, Iran), but the medieval cultures were not themselves discrete, isolated entities, rather they were overlapping and interdependent. This seminar seeks to reunite the study of these monuments, to examine cross-cultural interaction across the region.",
   "The constant shifting of political and cultural frontiers in the Middle Ages meant that populations became interlaced and artists might work for very different patrons. Each new war and conquest overlaid an additional culture on already complex and intertwined societies. There is a wealth of material evidence through which to explore the networks of relationships that resulted: primarily buildings (mosques, madrasas, monasteries and churches; caravanserais, hospitals, bridges; palaces, city walls), but also ceramics, metalwork and manuscripts. Frequently Christian populations were allowed to maintain their worship under Muslim rule, and vice versa. Shared shrines and common popular beliefs (e.g. in astrology and apotropaic imagery), and trans-regional trade routes all facilitated the development of common visual languages. The surviving network of caravanserais that connect Anatolia to Armenia, Syria and Iran are testimony to the importance of travel and movement across the region in this period.",
   "The fundamental aim of this seminar is to study the interaction of all the cultures in the region through their principal surviving remains: the buildings and art works that they commissioned."
  ],
  "flag": "项目（'was a travelling research seminar programme'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Decolonising Action Groups at The Courtauld",
  "url": "https://courtauld.ac.uk/research/researchseries/decolonising-action-groups-at-the-courtauld/",
  "person_links": 0,
  "named_persons": [
   "Professor Dorothy Price",
   "Dr Catherine Grant"
  ],
  "leader_hint": null,
  "emails": [
   "researchforumevents@courtauld.ac.uk"
  ],
  "direction_paras": [
   "Many of our students and staff, from all disciplines and professions, are interested in learning more about the process and potential of decolonisation and how they can apply this learning to their work and lives, whatever their role within The Courtauld. Our Decolonising Action Groups comprise small groups of our students and staff who want to expand their understanding of decolonisation and put this to practical use. Groups are led by students and staff, with support from the Research Forum Programme Manager and Events Producer.",
   "The groups originally met as reading groups; when it became clearer that ‘understanding’ goes hand-in-hand with ‘application’, the reading groups pivoted to action groups. We meet collectively to ensure accountability and support between participants, to hold the institution to account, and to draw on existing access to resources.",
   "The work our groups develop, discuss, and implement is directly linked to The Courtauld’s foundational tenet that everyone should have the opportunity to engage with art. “The Courtauld works to increase understanding of the role played by art throughout history, in all societies and across all geographies – as well as being a champion for the importance of art in the present day.”",
   "Although all work is voluntary, it is part of an effort within The Courtauld to create an equitable, diverse, and inclusive place to study, teach, and work. Courtauld Decolonising Action Groups are an example of the grassroots application of our shared mission, looking both at what can change immediately and, by involving a wide range of voices, be achieved with long term, structural change. The groups intend to create change from within.",
   "Decolonisation work has been taking place at The Courtauld for some time, particularly with the expansion of faculty through new hires looking beyond the western canon of art, who are able to offer new programme opportunities for students. However, the reading groups arose out of our specific response to the murder of George Floyd, and that of the Black Lives Matter movement, in 2020. This has been seen as a turning point for many institutions, including The Courtauld.",
   "Decolonisation is a complex issue that gives rise to different views and approaches. Even within the Decolonising Action Groups, we have different focuses and activities taking place."
  ],
  "flag": "行动/读书小组（'Groups are led by students and staff'），页面无具名负责人，非研究团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Digital Art History Research Group [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/digital-art-history-research-group/",
  "person_links": 3,
  "named_persons": [
   "Dr Stephen Whiteman"
  ],
  "leader_hint": "Convened by Dr Stephen Whiteman",
  "emails": [],
  "direction_paras": [
   "The Digital Art History Research Group organised discussions around the use of digital and computational methods in the histories of art and architecture and in conservation.",
   "From the building of newly accessible archives to new possibilities in art historical analysis, digital tools and methods have transformed transformed not just the way art historical research is done but even the types of questions we ask and the way we think about our objects. Rather than supplanting analog research and the material object, the digital complements our established methods, expanding the field, offering unprecedented access to materials and conversations, and foregrounding the possibilities of trans-disciplinary collaboration.",
   "#DAHRG’s annual schedule of events included lectures, seminar discussions, and practical workshops aimed at fostering discussion around the possibilities of digital methods and tools, and introducing colleagues to their application and use.",
   "Convenors: Pedro Luengo (Universidad de Sevilla) and Stephen Whiteman (The Courtauld)",
   "The digital and spatial turns in the Humanities have offered productive new methodological opportunities to the study of art and architectural history: architectural historians have begun to think about space and its reconstruction in new ways, while art historians have sought to resituate the objects of their study within spatial contexts. Of particular use has been the emergence of digital mapping and three-dimensional modelling, which has enabled scholars to better visualize inaccessible built environments and ask new research questions of their digital surrogates.",
   "This four-day workshop for PhD students introduced digital modelling for art and art historical research. Topics included the question of why we may wish to model; current software in modelling; in-depth introductory training in a leading modelling software; and ethical and methodological issues in modelling, among others. The week included lab time for practical work developing a model directly related to each participant’s research and ongoing discussions of the participants’ research."
  ],
  "flag": ""
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Documenting Fashion [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/documenting-fashion/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Primarily focused on 20th and 21st century global fashion, Documenting fashion organised events between 2014 and 2019 to promote and disseminate current research on fashion history and theory.",
   "The group provided a forum for discussion of leading edge work in the field of Dress History and Fashion Studies. Events were aimed at specialist audiences, members of the fashion industry, and those interested in thinking about fashion, to develop discussions across academia, curation, fashion arts and industry and encourage a rich and well-rounded platform for the subject at The Courtauld.",
   "Rebecca Arnold: I am interested in the ways fashion intersects with other aspects of visual culture, including amateur film and photography, and the impact of medium on fashion’s meanings. @documenting_fashion Bande a part podcast, Documenting Fashion Blog",
   "Connie Gray: I am passionate about fashion illustration & its relevance in interpreting the history of fashion throughout the 20th century & today. By sourcing the original works by the masters of the genre & exhibiting them in a gallery space allows the artists & their draftsmanship to be move from a commercial context into the respected world of fine art. @graymca",
   "Elizabeth Kutesko: I am interested in piecing together a Transnational Fashion Studies, which recognises how fashion operates across geographic borders, at the same time that is used to serve national agendas and often constructs clichéd ideas of cultural identity.",
   "Leah Gouget-Levy: I am interested in the relationship between fashion and time, and capitalism and the fashion system, particularly with regard to representations of fashion in photography, film and illustration. @leahgougetlevy"
  ],
  "flag": "活动型组（'organised events between 2014 and 2019 to promote and disseminate current research'），2019 已停"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Early Career Researcher Network",
  "url": "https://courtauld.ac.uk/research/researchseries/early-career-researcher-network/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [
   "researchforum@courtauld.ac.uk"
  ],
  "direction_paras": [
   "The Courtauld Early Career Researcher Network provides mutual support for academics at the beginning of their careers. We aim to foster social and academic links and to support career development.",
   "Workshops and talks will be held throughout the academic year as well as opportunities to meet other Early Career Researchers, socialise, share research ideas and practical advice. The group is led by a steering committee that guides the programme based on the interests of the members of the network.",
   "We welcome all researchers who are at the start of their careers, including PhD students, recent graduates, postdoctoral fellows, associate lecturers, and early career lecturers.",
   "If you are interested in joining the group or steering committee please contact researchforum@courtauld.ac.uk."
  ],
  "flag": "职业支持网络（'provides mutual support for academics at the beginning of their careers'），非学生培养/非研究团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Energies of Attachment: Rethinking Intimacy in Contemporary Chinese and Sinophone Art",
  "url": "https://courtauld.ac.uk/research/researchseries/energies-of-attachment-rethinking-intimacy-in-contemporary-chinese-and-sinophone-art/",
  "person_links": 0,
  "named_persons": [
   "Dr Wenny Teo",
   "Dr Feixuan Xu"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Asymmetry Distinguished Lecture Series on Contemporary Chinese and Sinophone Art 2023",
   "‘Intimacy builds worlds; it creates spaces and usurps places meant for other kinds of relation,’ wrote the literary critic and queer theorist Lauren Berlant. Just as the verb ‘to intimate’ implies the ability to ‘communicate with the sparest of signs and gestures’, intimacy similarly ‘involves the aspiration for a narrative about something shared, a story about both oneself and others that will turn out in a particular way.’ [1] We find comfort and security in these shared narratives – particularly in times of crisis – instinctively retreating into ‘zones of familiarity’, kinship, friendship, romantic love and community. Yet, it is also in times of crisis that theintimate ties that bind us also become especially strained and even undone.",
   "We have all experienced the ambivalence that lies within the intimate sphere in the wake of the Covid-19 pandemic; a global crisis that has exercised pressure on the boundaries between self and other, private and public, the virtual and actual, and the human and non-human in unprecedented ways. Across the world, city-wide quarantines, social distancing and self-isolation, heightened xenophobia and biopolitical governance have made us uncomfortably aware of how intimacy is far from a clearly-defined, neutral and ‘natural’ practice, but one that is invested with power, often taking exclusionary and even violent forms.",
   "In the light of such recent events that continue to trouble normative understandings of proximity and closeness, the first Asymmetry lecture series invites artists, curators and scholars to reflect on and ‘rethink’ intimacy in the context of transnational Chinese and Sinophone art. For Berlant, rethinking intimacy means to ‘appraise how we have been and how we live and how we might imagine lives that make more sense than the ones so many are living.’ While the positive and even utopian dimensions of intimacy as a practice of world-building will be explored in relation to the politics and ethics of care, co-habitation and belonging in artistic practice, the invited speakers will also consider the more ambivalent facets of intimacy that extend to wider ecologies and assemblages, or what Berlant called ‘energies of attachment’: interspecies, material, digital and diasporic intimacies that have no canon.",
   "[1] Lauren Berlant, ‘Intimacy: A Special Issue’, Critical Inquiry, Winter 1998. Vol 24, No 2, pp 281-288",
   "Convened by Dr Wenny Teo, Senior Lecturer in Modern and Contemporary Art, The Courtauld; Michèle Ruo Yi Landolt, Deputy Director, Asymmetry, and Dr Feixuan Xu, Asymmetry Postdoctoral Fellow, The Courtauld."
  ],
  "flag": "主题页（Asymmetry 讲座系列的一期），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Exploring Fourteenth-Century Art Across the Eastern and Western Christian World [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/exploring-fourteenth-century-art-across-the-eastern-and-western-christian-world/",
  "person_links": 0,
  "named_persons": [
   "Dr Elena Papastavrou",
   "Dr Donal Cooper"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "In collaboration with the University of York, the project aimed to explore any possible links between Catholic and Orthodox art during the fourteenth century.",
   "Whilst comparisons between thirteenth-century Western and Eastern Christian art are plentiful, the fourteenth century is considered as the culmination of the rupture between the two, a rupture that was at first outlined by the Fourth Crusade and the following sack of Constantinople in 1204. Yet, documentary evidence informs us that these years are characterised by continuous exchanges between the Orthodox and the Catholic Christian worlds, ranging from embassies, to trade and diplomatic gifts.",
   "Exploring Fourteenth-Century Art Across the Eastern and Western Christian World aims to engage with documentary and visual evidence in order to re-examine traditional views on both Eastern and Western Christian art. It proposes a loose understanding of the fourteenth century that includes the end of the thirteenth and the beginning of the fifteenth to offer a more comprehensive contextualisation.",
   "Project leaders: Maria Alessia Rossi (PhD student, The Courtauld) and Livia Lupi (PhD student, University of York).",
   "2 November 2016: Lecture by Dr Elena Papastavrou, Ephorate of Antiquities of Pieria, Hellenic Ministry of Culture, The Virgin Singing the Magnificat, the Virgin Carrying the Divine Word: Symbolism and Signs between Byzantine and Western Art, The Courtauld Institute of Art, 5.30pm",
   "27 February 2017: Lecture by Dr Donal Cooper (University of Cambridge), title tbc, University of York, 4pm."
  ],
  "flag": "项目（'the project aimed to explore'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "From the Land of Snows: The Art and Material Culture of Tibet and the Himalayas",
  "url": "https://courtauld.ac.uk/research/researchseries/from-the-land-of-snows-the-art-and-material-culture-of-tibet-and-the-himalayas/",
  "person_links": 1,
  "named_persons": [
   "Dr. Emma Martin",
   "Dr Louis Copplestone",
   "Dr Monisha Ahmed"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Encircled by a ring of snow mountains, at an altitude of over 4,000 metres, the Tibetan Plateau has fascinated those who live beyond it for centuries.",
   "Periods of total isolation ensured the preservation of ancient practices, and the harsh terrain made travel by outsiders extremely difficult if not totally impossible during periods of contact. However, in spite of its unforgiving landscape, the Tibetan Plateau and the Himalayan region are home to a vast array of visually stunning, materially rich, and spiritually meaningful religious and secular art and architecture, formed through centuries of contact and intense exchange with the surrounding regions. Far from perceived total isolation and remoteness, this began with the inherently multi-cultural age of the great dharmarājas of the Tibetan Empire (c. seventh-ninth century CE) and was encouraged and enabled in particular by the sustained dissemination of Buddhism from India onto the plateau across the centuries. Positioned at the centre of the so-called ‘Silk Roads’, Tibet and the Himalayas are therefore of critical importance for understanding the wider story of Eurasian art.",
   "Following the illegal invasion of Tibet by the Chinese Communist Party in 1950, and the forced exile of HH The Fourteenth Dalai Lama in 1959, the art and material culture of Tibet has been systematically targeted and destroyed, especially during the so-called ‘cultural revolution’, inflicted on Tibet by the CCP. This linguistic, cultural and religious repression and colonial occupation continues today, and threatens the continued existence of Tibetan culture within Tibet. However, institutions established by the refugee community in exile work tirelessly to preserve the language, arts, culture and religion of the most peaceful nation on earth in spite of being unable to return home. Alongside new Tibetan refugee settlements in India, the art and material culture of Ladakh, Sikkim, Nepal and Bhutan, among others along the Himalayas, are culturally linked to the plateau through Tibetan Buddhism, while simultaneously having their own distinct histories, and are today important repositories of Himalayan arts.",
   "The sensitive and historically accurate portrayal and representation of Tibetan material history outside of Tibet is therefore of critical importance not only for its own survival, but for the preservation of a historically truthful narrative of global history. This series of lectures aims to address the imbalance in western and ‘global’ outlooks of the History of Art that continue to overlook this fundamentally important region, and draw upon a global community of scholars and experts to inspire others to discover art from the Land of Snows.",
   "Join Dr. Emma Martin as she explores the intersection of Tibetan social movements and material culture in the Tibet Museum, revealing how the museum's curatorial approach uses non-violent resistance to showcase Tibetan objects as symbols of political...",
   "Join researcher and photographer Peter van Ham for a captivating talk on the ancient monastery of Tabo, showcasing the images from his newly published book \"TABO - Gods of Light\""
  ],
  "flag": "项目/讲座主题页，无具名负责人，非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Gender and Sexuality Group [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/gender-and-sexuality-group/",
  "person_links": 1,
  "named_persons": [
   "Dr Rachel Warriner",
   "Dr Edwin Coomasaru Header"
  ],
  "leader_hint": "Convenors: Dr Rachel Warriner and Dr Edwin Coomasaru",
  "emails": [],
  "direction_paras": [
   "The Courtauld’s Gender and Sexuality Research Group brought together scholars to investigate the ways in which feminist and queer politics have shaped or been shaped by visual culture. The group organised seminars, lectures, and conferences; as well as hosting talks by artists including Turner Prize Winners Lubaina Himid, Tai Shani, Helen Cammock, and members of Array Collective. The group aimed to promote feminist and queer approaches to art history at the Courtauld and beyond, offering a space to share new research and exchange ideas.",
   "Header image: Candida Powell-Williams, Lessness, still quorum, 2018, performance, Serpentine Galleries, photo by Rob Harris, courtesy of the artist.",
   "At a time of rising far right movements as well as waves of LGBTQ+ activism and in the midst of a climate emergency, artist Adham Faramawy will reflect on the relationship between queer politics and ecologies in their art practice.",
   "This symposium will examine how feminist and queer art and visual culture challenged Northern Irish art and society since 1968.",
   "Artist Shen Xin joins curator and writer Alvin Li for an intimate conversation in this online event. In lieu of a conventional studio visit, the two interlocutors will proceed by posing each other a series of questions informed by their ongoing resea..."
  ],
  "flag": ""
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Giotto’s Circle",
  "url": "https://courtauld.ac.uk/research/researchseries/giottos-circle/",
  "person_links": 1,
  "named_persons": [
   "Professor Joanna Cannon Past Events"
  ],
  "leader_hint": "Convener: Professor Joanna Cannon",
  "emails": [
   "joanna.cannon@courtauld.ac.uk"
  ],
  "direction_paras": [
   "Giotto’s Circle promotes the study of the art and architecture of Italy in the thirteenth and fourteenth centuries and encourages the exchange of information and ideas about these works among scholars, curators, and conservators, both nationally and internationally.",
   "The circle was founded in 2004 by a small group of UK-based researchers active in the field. We hold seminars about twice a term, aiming for an informed but informal atmosphere. Since 2020 the majority of our meetings have been held online, but in 2022 we resumed occasional in-person meetings at the Courtauld.",
   "We would be glad to hear from art historians, curators, and conservators with expertise in relevant fields who would like to be informed about future sessions. (Please send name, e-mail and postal address, institutional affiliation (if applicable), and brief details of particular areas of interest to joanna.cannon@courtauld.ac.uk.)",
   "Lisa Monnas (Independent scholar), ‘Looking at Pietro Lorenzetti’s Pieve Polyptych: A material appreciation’.",
   "Donal Cooper (University of Cambridge), ‘Revisiting the Pilgrim’s Progress: The Lower Church at Assisi and the exhibition “Giotto e san Francesco. Una rivoluzione nell’Umbria del Trecento” (Galleria Nazionale dell’Umbria, Perugia, 14 March – 14 June 2026)’.",
   "John Renner (Independent scholar), ‘Margarito d’Arezzo’s St Francis panels: open questions on dating, function and status as portrait icons of a modern saint’."
  ],
  "flag": ""
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Gothic Ivories Project [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/gothic-ivories-project/",
  "person_links": 0,
  "named_persons": [
   "Prof. John Lowden Project Manager",
   "Dr Catherine Yvard The"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Project Director: Prof. John Lowden Project Manager 2008-2015: Dr Catherine Yvard",
   "The production of ivory objects flourished in the Gothic period, especially in France: delicate statuettes, minutely carved diptychs and triptychs, mirror backs and wonderful caskets with secular scenes have survived in collections around the world.",
   "The last comprehensive survey of Gothic ivories contained over 1300 items and was published by Raymond Koechlin in 1924 in his seminal work Les Ivoires gothiques français.",
   "Since then, many more ivories have surfaced in auction houses, and private and public collections; valuable articles and catalogues have been written; scientific examination and increasing expertise have all shed more light on these exquisite objects. It is now time for another survey, a ‘Koechlin for the 21st-century’.",
   "Taking as the starting point the photographic resources of the Conway Library, which represent over 1,500 ivory objects in private and public collections, the Gothic Ivories Project is a database which includes all readily available information on each Gothic ivory, accompanied by at least one image.",
   "This resource allows wide-ranging searches on iconography, provenance, origin, post-medieval repairs and replacements, modern forgeries, and any other relevant aspects. It made possible the ability to view in one place images and detailed information on thousand of items scattered in collections around the world."
  ],
  "flag": "项目（database project），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Group Work: Contemporary Art and Feminism [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/group-work-contemporary-art-and-feminism/",
  "person_links": 0,
  "named_persons": [
   "Dr Catherine Grant",
   "Dr Amy Tobin",
   "Dr Rachel Warriner"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Group Work: Contemporary Art and Feminism explores the legacies and histories of group work in art since the 1970s, with a focus on feminist practices. This research project asks what would a (feminist) art history look like if it refused to tell a history of individual artists? And how did the collectivity inherent in much feminist organising in the 1970s and 1980s feed into artistic practice? Thinking through the legacies of consciousness-raising in art, as well as other political group work that intersect with feminist politics, including the peace movement, anti-racist and women of colour activism, and lesbian, gay and transgender activism, Group Work has run seminars and workshops since 2019. Further details can be found here.",
   "The group is led by Dr Catherine Grant (Reader and Vice-Dean for Education, Courtauld Institute of Art), Dr Amy Tobin (Associate Professor in the History of Art, University of Cambridge and Curator, Contemporary Projects, Kettle’s Yard) and Dr Rachel Warriner (British Academy Postdoctoral Fellow, Courtauld Institute of Art).",
   "Group Work and Chelsea Space are pleased to announce that the publication Responding to Women and Creativity is now available as a pdf and a risograph pamphlet. Responding to Women and Creativity starts with Annabel Nicolson’s work Women and Creativity (1978-80), and compiles responses given to a series of questions about creativity from a number of contemporary artists, writers and curators. The research into Nicolson’s work was the subject of a Group Work workshop at Chelsea Space in March 2021.",
   "Responding to Women and Creativity includes a facsimile copy of Annabel Nicolson’s article “Women Talking”, first published in Feminist Arts News (FAN) in 1982. There is an introduction to the project by Catherine Grant, and a series of responses to the following questions:",
   "When you read the extracts from Annabel Nicolson’s tapes in the article “Women Talking”, do you see similarities with your own situation in 2021?",
   "Do you think it is still important for women artists and other feminist cultural practitioners to share their strategies for enabling creative practice?"
  ],
  "flag": "研究项目（'This research project asks ...'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "ICMA at the Courtauld",
  "url": "https://courtauld.ac.uk/research/researchseries/icma-at-the-courtauld/",
  "person_links": 0,
  "named_persons": [
   "Professor Alexa Sand",
   "Professor Nina Rowe",
   "Dr. Andrea Myers Achi",
   "Dr Elizabeth Morrison",
   "Professor Nancy Sevcenko",
   "Dr Adam Cohen",
   "Professor Lawrence Nees",
   "Professor Robert Nelson",
   "Professor Henry Maguire",
   "Prof. Lucy Freeman Sandler",
   "Prof. Madeline Caviness",
   "Prof. Annemarie Weyl Carr",
   "Prof. Dorothy Glass",
   "Prof. Elizabeth Sears",
   "Prof. Paula Gerson",
   "Prof. Dale Kinney",
   "Dr. Charles Little"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "This lecture series, established in 1999, is sponsored by the International Center of Medieval Art, New York. ICMA promotes the study of the visual arts of the Middle Ages. Its worldwide membership includes academics, museum professionals, students, and other enthusiasts. ICMA publishes a scholarly journal Gesta, a newsletter, sponsors lectures and conference sessions and maintains the website www.medievalart.org",
   "The annual lecture is delivered at The Courtauld by a scholar based in North America, strengthening transatlantic contacts among medievalists from the university and museum worlds.",
   "A generous benefaction secured the continuation of the lecture series. Dr William M. Voelkle Curator Emeritus of Medieval and Renaissance Manuscripts at the Pierpont Morgan Library, New York, supports the travel and accommodation costs of the speaker.",
   "Alexa Sand is Professor of Art History and Associate Vice President for Research at Utah State University, where she has taught since 2004. She earned her Ph.D. in art history from UC Berkeley, with an emphasis on medieval French art and literature. Her book, Vision, Devotion, and Self-Representation in Late Medieval Art appeared with Cambridge University Press in 2014. Her most recent work has focused on medieval puppetry, including her 2021 essay in Gesta, “Puppets, Manuscripts, and Gendered Performance in the Hortus deliciarum.” She is cohost of the podcast Real Fantastic Beasts.",
   "Organised by Dr Jessica Barker, Senior Lecturer in Medieval Art History, The Courtauld. This event is kindly supported by the International Center of Medieval Art (ICMA), and the drinks reception sponsored by Sam Fogg. This Series made possible through the generosity of William M. Voelkle.",
   "Nina Rowe is a Professor of Medieval Art History at Fordham University in New York City. Her books include The Jew, the Cathedral, and the Medieval City: Synagoga and Ecclesia in the Thirteenth Century (Cambridge UP, 2011) and The Illuminated World Chronicle: Tales from the Late Medieval City (Yale UP, 2020), as well as edited volumes, most recently: Whose Middle Ages?: Teachable Moments for an Ill-Used Past (Fordham UP, 2019). She has held fellowships from The Metropolitan Museum of Art, the National Endowment for the Humanities, and the American Council of Learned Societies, and she served as President of the International Center of Medieval Art (ICMA), 2020-2023."
  ],
  "flag": "讲座系列（'This lecture series, established in 1999'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "London Renaissance Consortium [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/london-renaissance-consortium/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The London Renaissance Consortium was established to take advantage of the wealth of Renaissance teaching and research in London and to create a network through which information about seminars and Renaissance events can be shared. The consortium intended to facilitate a community amongst the researchers, teachers and students active in this field of study. The consortium circulated regular email bulletins to its members providing a calendar of Renaissance seminars taking place across London."
  ],
  "flag": "网络/联盟（'create a network through which information about seminars ... can be shared'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Marie-Louise von Motesiczky Charitable Trust Collaborative MA Programme [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/marie-louise-von-motesiczky-charitable-trust-collaborative-ma-programme/",
  "person_links": 0,
  "named_persons": [
   "Dr Klara Kemp-",
   "Dr Beata Hock"
  ],
  "leader_hint": null,
  "emails": [
   "klara.kemp-welch@courtauld.ac.uk",
   "beata.hock@uni-leipzig.de"
  ],
  "direction_paras": [
   "From 2014-16, the Marie-Louise von Motesiczky Charitable Trust was supporting a two-year interdisciplinary research-led programme at The Courtauld Institute of Art. The project was a collaboration between Dr Klara Kemp-Welch from The Courtauld and Dr Beata Hock as Visiting Scholar from the University of Leipzig, and consists of two parts:",
   "The development of a new MA special Option on Central European modernism;",
   "A series of research events designed to further explore new directions in Central European modernism studies.",
   "Expand the intellectual range represented by The Courtauld by bringing together scholars from different traditions and different disciplines to teach a postgraduate course on a topic of mutual interest.",
   "To have an immediate impact on the research and thinking of the two colleagues who work together but it also leaves a legacy of enriched curriculum.",
   "Deepen interdisciplinary exchange between art history and other humanities studies."
  ],
  "flag": "学位项目（MA programme），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Medieval Touch [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/medieval-touch/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": "The group was convened by Tom Nickson",
  "emails": [],
  "direction_paras": [
   "Medieval Touch promoted the study of a diverse range of medieval objects from museum collections, ranging from the fourth century to the sixteenth. It took the form of handling sessions, designed to encourage an informal exchange of information and ideas among Courtauld staff, research students and other London-based scholars, students and curators. The group was convened by Tom Nickson. The group met once a term to examine and discuss a selection of works around a given theme. These handling sessions were typically led by a scholar with expertise in the given theme, and were often preceded by an informal reading group in which a small selection of pertinent texts were read and discussed. Sessions typically took place at the British Museum, Victoria & Albert Museum, and elsewhere, and were made possible by the generosity of curators in those collections.",
   "Previous handling sessions have included: objects with apotropaic inscriptions, rock crystal objects, Gothic ivories, Byzantine and early medieval ivories, enamels, alabasters, Byzantine apotropaic objects, micro-architecture, the Agnus Dei, Becket and pilgrimage, late medieval architectural prints, the Bestiary tradition, and sixteenth-century scientific instruments. Details of some of these can be found below:"
  ],
  "flag": ""
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Painting Pairs: Art History and Technical Study",
  "url": "https://courtauld.ac.uk/research/researchseries/painting-pairs-art-history-and-technical-study/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "‘Painting Pairs: Art History and Technical Study’ is a research opportunity for graduate students enrolled in the MA in the History of Art, MA in Curating the Art Museum and the PhD programme. It is supported by the Research Forum, the Courtauld Gallery and the Department of Conservation and Technology. Selected students are given the opportunity to form a research partnership with future conservators from the postgraduate diploma in the Conservation of Easel Paintings.",
   "Each pairing explores the contribution technical study can make to art historical scholarship (and vice versa) through research on a painting undergoing analysis or treatment in the Department of Conservation and Technology. The paintings are drawn from private and public collections, including the Courtauld Gallery. Past studies include: Portrait of Cardinal Granvelle by Scipione Pulzone, Toilet of Venus, circle of Veronese, Peter Lely’s Cimon and Iphigenia, Portrait of Francis Beaumont by an unknown 17th century artist, Carnival Scene at the Convent by an unknown 18th –century artist, and an examination of a 17th century copy of Raphael’s Holy Family.",
   "Valuable experience is gained in the challenges and rewards of inter-disciplinary collaboration, which, although more familiar within a museum context, is becoming increasingly part of academic practice. Indeed, ‘Painting Pairs’ is at the forefront of initiatives that increase the links between technical and art historical enquiry and broaden the ways in which technical study can be applied.",
   "Research is self-directed and a high degree of professionalism is expected. This is reflected in the fact that each participant receives an honorarium, with additional funds available if a study trip becomes necessary. Each pairing is required to set out their research questions at a workshop held in the Research Forum at the beginning of the spring term, and to present findings at a second workshop later in the year. Wider access to this research is enabled by the posting of a project report (submitted a week after the final presentation) on The Courtauld website. These collaborations can also lead to publications in peer-reviewed journals and the public display of paintings once confined to the storeroom.",
   "Report: Lara Dunn and Nitzan Eliyahu, Hannah, Last of the Essex Straw Plaiters, c. 1928-1937, Felicia Covernton, Braintree District Museum, Essex.",
   "Report: Sam Byfield and Ana-Sofia Petrović, Allegory of May and June, Private collection."
  ],
  "flag": "学生培养计划（'a research opportunity for graduate students'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Psychedelic Reason",
  "url": "https://courtauld.ac.uk/research/researchseries/psychedelic-reason/",
  "person_links": 0,
  "named_persons": [
   "Dr Wenny Teo",
   "Dr Yayu Zheng"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The word ‘psychedelic’, from the Greek psyche (mind, soul) and deloun (to reveal or manifest), was first coined in 1956 to describe the mind-altering effects of psychotropic substances. For cultural critic Mark Fisher, however, ‘the crucial defining feature of the psychedelic is the question of consciousness, and its relationship to what is experienced as real.’ If even the most basic categories of experience — time, space, labour, the self — can be altered, then reality is contingent and plastic, shaped by power yet open to transformation by collective desire. In his late writings, he described ‘psychedelic reason’ as a lucid, emancipatory framework that allows us to see through the fatalism of capitalist realism and manifest alternative futures.",
   "This year’s Asymmetry Lecture Series revisits Fisher’s provocation at a time when the grounds of shared reality feel unsettled and fragile, aggravated by disinformation politics and synthetic media. At the same time, new forms of knowledge, from advances in neuroscience, machine learning to distributed intelligence have expanded our understanding of what it means to be ‘conscious’ beyond the human sensorium into a more entangled and relational field.",
   "The invited speakers navigate these contradictions through diverse artistic practices, from projects that trace the emergence of new psycho-social collectivities through digital egregores to filmic explorations of shamanic traditions on the ruins of modernity. At a moment when we no longer fully trust what we see and hear, the series asks how art might open new circuits of perception and sketch pathways toward futures not yet foreclosed.",
   "The Asymmetry Lecture Series is an annual programme of artist talks, conversations and screenings that provide a platform for artists, curators and scholars of East and Southeast Asian heritage to share their research and practice with wider audiences, focusing on issues of transculturality and representation in the global contemporary.",
   "Convened by Dr Wenny Teo, Senior Lecturer in Modern and Contemporary Asian Art at the Courtauld Institute, Michèle Ruo Yi Landolt, Director at Asymmetry and Dr Yayu Zheng, Asymmetry Post-doctoral Fellow at the Courtauld Institute.",
   "In the first event in our 2025-26 Asymmetry Distinguished Lecture Series, artist and writer Gary Zhexi Zhang will discuss the internet, AI, and the techno-politics of persona through an account of “parasocial media”. Online identity formation and the..."
  ],
  "flag": "主题页（讲座系列的一期），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Research visit to The Cosmic House and Home House",
  "url": "https://courtauld.ac.uk/research/researchseries/research-visit-to-the-cosmic-house/",
  "person_links": 0,
  "named_persons": [
   "Dr Kyle Leyden Photos"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "In August 2026, the Interrogating Heritage Cluster visited The Cosmic House and Home House, London.",
   "The Cosmic House is one of the key landmarks in the development of Post-Modernist architecture. A hugely influential distillation of the ideas at the heart of Post-Modern thought in culture and science, it is a remarkable testament to the polymathic talents of Maggie and Charles Jencks.",
   "Home House, located at 20 Portman Square in Marylebone, is a spectacular 18th-century Georgian townhouse designed by architect Robert Adam. It served as the original temporary headquarters for the Courtauld Institute of Art, which was co-founded by the industrialist and art collector Samuel Courtauld."
  ],
  "flag": "单次参访记录，非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Social/Global Working Group [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/social-global-working-group/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Social/Global Working Group was an internal forum for faculty discussion around the question of how the highly culture-specific social history of art—one of the major disciplinary turning points of the last forty years—has been problematized, rendered obsolete as a distinctive intellectual position or, conversely, might be vitalized by or indeed vital to the global turn. Our questions included: how do the two paradigms speak to one another, if, indeed, they do? Is the social history of art still a useful idea and, if so, how might it be augmented or expanded by new ideas that have emerged with the global turn? What does a critical art history look like that is informed by both?",
   "The group centred on the challenge of writing and teaching art history that is rooted politically, economically, and socially but that can take account of global movement, displacement, hybridity, interconnectedness, and simultaneity across different geographical sites etc. Simply put, our subject was the social history of art after the global turn. We started by mining the Institute’s own intellectual history."
  ],
  "flag": "内部讨论论坛（'was an internal forum for faculty discussion'），页面无具名负责人，非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Technical Art History [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/technical-art-history/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The research group Technical Art History provided a forum for the interdisciplinary study of artworks from an art historical, technical and scientific point of view. The term Technical Art History itself has been in use since the 1970s and is occasionally contested. As a result, one of the subjects explored in the groups activities was the great diversity of definitions and approaches to the field.",
   "We invited practitioners with a wide range of expertise to give lectures and seminars as part of the Research Forum’s public programming. Past presentations and seminars have covered topics such as Cézanne’s paper supports, new methods of technical examination of Vermeer’s “Girl with a Pearl Earring,” contemporary artists’ engagement with virtual, augmented and mixed realities as well as the reconstruction of patterned canvases used by artists from the 16th century onwards.",
   "The group was founded by a small group of Courtauld-based researchers with expertise in the medieval, Renaissance, Baroque and modern-contemporary period. However, the process of making artworks of all periods and media is of equal interest to us."
  ],
  "flag": "讨论论坛（'provided a forum for the interdisciplinary study of artworks'），页面无具名负责人，非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "The City: Seen and Unseen [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/the-city-seen-and-unseen/",
  "person_links": 4,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The research area included maps, topographical views, fine art representations, photography, film printed ephemera and performance. The chronological scope was from late medieval to the 20th century. Among the cities investigated were London, Glasgow, Paris, Lyon, Amsterdam, Antwerp, Prague, Istanbul and Cairo.",
   "Topics for discussion under the sign of the visible included mapping, display, surveillance, fantasy, forensic investigation.",
   "Members included: Jo Applin, Caroline Arscott, Katie Scott, Joanna Woodall along with selected Research students."
  ],
  "flag": "讨论组（'Members included: Jo Applin, Caroline Arscott, ...'），无单一具名负责人"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "The Research Forum / Andrew W. Mellon Foundation MA [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/the-research-forum-andrew-w-mellon-foundation-ma/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Research Forum / Andrew W. Mellon Foundation MA fostered integrated interdisciplinary exchange through the collaboration of scholars teaching a course closely based on their research interests. The collaboration allowed for the exposition and transmission of different methods and approaches. The Research Forum / Andrew W. Mellon Foundation MA Special Option courses were co-taught by Courtauld teachers with specially appointed Andrew W. Mellon Foundation Visiting Professors.",
   "Traditions in scholarship are thoroughly embedded in traditions of teaching. By teaching together, the scholars involved had the occasion to closely scrutinize their own definitions as to how knowledge is structured and transmitted and tested methods of exposition against each other. Given the amount of writing demanded of Courtauld MA students and the close supervision of their projects, students were not only exposed to new material and ideas, but were expected to practice different forms of study and expression.",
   "The goal of the programme was to enable a deep level of interaction. The project further enabled the research of the collaborating scholars by relieving them of other teaching duties. Additionally, the appointment of a Postdoctoral Fellow as an affiliate of the course with the responsibility of assembling an annotated course bibliography or bibliographic database that was published on this website, added both to the research profile and to the impact of the programme. The Fellow taught one course, which represented a training opportunity for the Fellow as well as supporting the seconding of the Courtauld teacher to the Forum MA. The appointment of one or two teaching assistants in association with the course, also necessary to the seconding of the Courtauld teacher, further expanded the involvement of younger scholars in the project.",
   "The Visiting Professors also participated in other research seminars, and present their work in public lectures and seminars.",
   "Taught by Dr Scott Nethersole in collaboration with Andrew W. Mellon Foundation/ Research Forum Visiting Scholar, Dr Frederica Pich (Lecturer in Italian, University of Leeds), a specialist in Italian literature, and in the dynamic relationship between words and images in lyric and chivalric poetry.",
   "Taught by Professor Katie Scott and Andrew W. Mellon Foundation / Research Forum Visiting Scholar Dr Samuel Williams, an anthropologist in the Department of Anthropology, Princeton University, who has carried out research on art and history in the Ottoman Empire, and recently completed his PhD dissertation on ‘The Twenty-First Century Bazaar – Economic Transformation in Three Historical Istanbul Marketplaces’."
  ],
  "flag": "学位项目（MA programme），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "The Textile Working Group [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/the-textile-working-group/",
  "person_links": 5,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Textile Working Group was active between 2019 – 2024, it promoted the study of historical textiles. It provided opportunities for technical examination of textiles and a place to exchange ideas about approaches to textile research in academic study.",
   "The fragility and complexity of textile material made this a difficult field for research. Textile studies have been side-lined or set apart from broader art historical practices; however, there is a growing outside interest in the medium today. Given The Courtauld’s history in British textile manufacture, this group hoped to re-establish the institute’s connection to textiles and be a part of the growing movement in textile study today. Our goal was to share knowledge and develop a deeper understanding of textile media through the study of objects, technical workshops, and discussion with experts in this field.",
   "Activities were organised by a team of Courtauld Doctoral students who researched textiles (Jessica Gasson, Carole Nataf, Jordan Quill, Margaret Squires and Julia van Zandvoort). Membership was open to faculty and postgraduate students, early-career academics and early career art world professionals with an interest in textiles."
  ],
  "flag": "学生运营组（'Activities were organised by a team of Courtauld Doctoral students'），无导师级负责人"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "What Sense is there in Art? [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/what-sense-is-there-in-art/",
  "person_links": 0,
  "named_persons": [
   "Dr Irene Noy"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "What Sense is there in Art? is a research project and network that promotes a conscious awareness of multisensory experiences of art and enquires into the meaning and cultural, social and political implications of such encounters. As an initiative that traverses all periods of art history and all types of art, this project examines the evocation, mediation and representation of such experiences in art works that attend to these matters explicitly and implicitly.",
   "The main aim is to encourage the exchange of information and ideas about art and senses among the general public, artists, scholars and curators, both nationally and internationally.",
   "The programme was convened by Dr Irene Noy, the Sackler Research Forum Postdoctoral Fellow for 2015-16.",
   "In recent years, there has been a re-discovery of the importance of the multisensory experience of art. Despite this sensorial revival within the art discourse, to a great extent, art perception and its appreciation is still grounded today in ideas that were developed during the Enlightenment of the eighteenth century in Europe.",
   "The Kantian theory of aesthetics and its preference of the sense of sight as a leading sense in the philosophy of art, beauty and logical thinking overshadow more liberal approaches which argue that aesthetics can relate to the whole corporeal sensorium and thus go back to its original Greek meaning, in which feelings, emotions and perception via all senses are included. Alexander Gottlieb Baumgarten (1714-1762) was one of the key figures in this area who proposed the concept of cognition sensitive or “sensitive knowledge”, which acknowledged the senses as active generators of meaning rather than passive receptors of sensations.",
   "It suggests that human beings could not and should not be reduced to either purely rational or purely sensual beings. Such an approach embraces the confusion of sensual experience as a sign of wholeness, since aesthetics as the philosophy of “sensitive knowledge” allows human experiences to be grasped in a way that cannot be comprehended through logical thinking alone. Given these theoretical juxtapositions and considering this hierarchy of the senses, which pervades into the twenty-first century, how can such mechanisms be addressed in an artistic practice and discourse? What can such a sensorial expansion mean to a broader context? What relevance do such concerns have to the increasing commodification of senses?"
  ],
  "flag": "项目/计划（'As an initiative that traverses all periods'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Word and Image [Archived]",
  "url": "https://courtauld.ac.uk/research/researchseries/word-and-image/",
  "person_links": 6,
  "named_persons": [
   "Dr Caroline Levitt",
   "Dr Gavin Parkinson",
   "Professor Sarah Wilson",
   "Dr Sheila Mc",
   "Professor David Peters Corbett",
   "Dr Wenny Teo"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Word and Image Research Cluster brought together researchers across the Institute who were interested in word-image relationships in the broadest sense: from paintings, manuscripts, maps and monuments, to twentieth century journals, artists’ books, Chinese script, emojis, comic books and surrealism. These diverse interests speak to focussed intersections that are at the heart of the discipline of Art history itself: words with images, words in images, words about images and word as image.",
   "The cluster welcomed the involvement not only of art historians, but also literary scholars, librarians, creative writers and artists working with text. In bringing scholars from different periods together, the cluster hoped to open up dialogue about the textuality of images and the visuality of text, and about the way we articulate these concerns in a global or cross-cultural context. Issues of translation and communication, of illustration and disjunction, and of metaphor and visual punning may emerge as especially pertinent to discussion.",
   "Join Linda Freedman for this online talk about New Eden, mythology and redemption in nineteenth century America, and the reflection of these themes in art and literature."
  ],
  "flag": "cluster（'bringing scholars from different periods together'），跨系聚合，无单一具名负责人"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Works on Paper Study Group",
  "url": "https://courtauld.ac.uk/research/researchseries/works-on-paper-study-group/",
  "person_links": 1,
  "named_persons": [
   "Dr. Ketty Gottardo"
  ],
  "leader_hint": "supporting patron: Dr Ketty Gottardo; organised by Print Room Assistants",
  "emails": [
   "PrintRoom.Assistants@courtauld.ac.uk"
  ],
  "direction_paras": [
   "The Works on Paper Study Group is dedicated to exploring the creative and material processes and practices involved in the production, display, and collecting of works on paper. Our goal is to enable individual members to develop a deeper understanding of all aspects of the graphic arts through structured first-hand study of these works, and through discussions with experts in the field. We explore questions which are object-based as well as theoretical, ranging from the identification and appreciation of techniques and materials in works on paper, to the more conceptual investigations of the graphic mark-making as a discourse and a form of visual communication.",
   "The group holds two meetings every term, with one event generally taking place at the Institute and one at a different venue in London or the South East. Each meeting has a thematic focus, exploring topics like the cultural meaning and function of red chalk, methods of attribution, or strategies of collection building.",
   "Activities are organised by the team of Courtauld graduate students who work as Print Room Assistants in the Prints and Drawings Study Room of the Courtauld Institute.",
   "Dr. Ketty Gottardo, Martin Halusa Curator of Drawings, is the group’s supporting patron.",
   "Membership is open to PhD students, early career academics, and early career art world professionals with an interest in the graphic arts. To join the Works on Paper Study Group, please e-mail: PrintRoom.Assistants@courtauld.ac.uk, including a very brief outline of your specific interests in works on paper.",
   "Accompanied by the exhibition curators Dr Stephanie Buck and Dr Dagmar Korbacher, the group explored the process of selection and display of thirty drawings by Botticelli for Dante’s Divine Comedy shown alongside a selection of illuminated manuscripts including the Hamilton Bible. Discussion raised issues of the collection and sale of the Botticelli works made famous when Lord Hamilton relinquished them in 1882. Our conversations with the curators also considered the unique curatorial challenges faced when exhibiting works on paper in a variety of formats and according to the demands of conservation."
  ],
  "flag": ""
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Architectural History",
  "url": "https://courtauld.ac.uk/research/research-areas/architectural-history/",
  "person_links": 9,
  "named_persons": [
   "Professor Sussan Babaie Professor",
   "Professor Joanna Cannon Professor Emerita",
   "Professor Antony Eastmond",
   "Dr Kyle Leyden Lecturer",
   "Dr Tom Nickson Reader",
   "Professor Guido Rebecchini Professor",
   "Professor Robin Schuldenfrei Tangen Professor",
   "Professor Katie Scott Professor",
   "Professor Christine Stevenson Professor"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Courtauld has a long history of teaching and research in architectural history and, with a vibrant community of visiting scholars and students at every level, it now has one of the largest concentrations of historians of urbanism, interior design, ephemera and architectural theory and practice in the world.",
   "Located in Somerset House – begun in 1776 and conceived as a showcase for Britain’s artistic and imperial achievements – our community of architectural historians believes strongly in the importance of being able to experience a building, and take advantage of easy opportunities to visit sites in London, the UK and beyond.",
   "We enjoy teaching and scholarly connections with such major local collections and institutions as the Royal Institute of British Architects, the Society of Antiquaries of London, the Victoria & Albert Museum, the Warburg Institute, Sir John Soane’s Museum, the Royal Academy, and a number of architectural practices. Students take advantage of the many opportunities to work with the statutory agencies and charitable organizations safeguarding the built heritage of England, and beyond, which are centred in London.",
   "Onsite we benefit from access to the Conway Library (a vast photographic archive of architecture, sculpture and design) and The Courtauld Gallery’s important collection of architectural drawings. The Gallery hosts student-curated architectural exhibitions; the Research Forum sponsors numerous events of all types at which students, teachers, and visitors from all over the world exchange ideas about the built environment.",
   "The Courtauld also makes architectural history. The architects Witherford Watson Mann are now leading on ‘Courtauld Connects’, a major transformation of our home in Somerset House which will further inspire, and equip, our students and ourselves to study the relationships between built form, user needs, and architecture’s function as representation.",
   "Our research and teaching ranges across the globe, and from late antiquity to the present day, and within the field our students have gone on to successful careers in museums, academia, heritage organisations and consultancies, journalism, and much besides."
  ],
  "flag": "方向叙述页（period section，'our community of architectural historians'），非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Early Modern",
  "url": "https://courtauld.ac.uk/research/research-areas/early-modern/",
  "person_links": 13,
  "named_persons": [
   "Professor Sussan Babaie Professor",
   "Dr. Sarah Grandin Lecturer",
   "Dr Kyle Leyden Lecturer",
   "Professor Guido Rebecchini Professor",
   "Professor Katie Scott Professor",
   "Professor Christine Stevenson Professor",
   "Professor Stephen Whiteman Professor",
   "Professor Joanna Woodall Professor Emerita"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The members of The Courtauld’s Early Modern section are committed to innovative teaching about and research into a very wide range of topics and themes pertaining to Eurasian arts in all media as well as architecture and urbanism, from the sixteenth through to the mid-nineteenth century. The section’s title does not presume any one definition of the ‘modern’ and understands early modernity through the lens of the specific historical trajectories and geographical locations. The Early Modern reflects the complicated reality of an era marked by the first phase of global interconnectedness, unprecedented technological change, religious upheaval, and radically new conceptions of the relationship between the individual and the state, new constellations of economic and social collectives, and ideologies that also remained firmly rooted in the values and myths of the past. The Early Modern section is further distinguished by its emphasis on innovative methodologies that transcend nation-based boundaries of art history to include transregional, crosscultural and multi-disciplinary perspectives.",
   "The section runs a regular series of research seminars, which provide a forum for the presentation of work by scholars at different stages of their careers from doctoral candidates to senior academics. We regularly organise conferences and study days which complement the seminars and regular talks by leading scholars from the UK and elsewhere.",
   "The Courtauld’s own book library has particularly strong holdings in the early modern field. Apart from an important group of seventeenth-century publications on art and architecture bequeathed by Anthony Blunt, students and other researchers have access to the microfiche of the Deloynes Collection of eighteenth-century French art criticism, as well as to the largest single collection of press cuttings (both originals and microfiche copies) relating to the early exhibitions of the Royal Academy.",
   "The Courtauld website Picturing the Netherlandish Canon provides access to a crucial early modern publication on Netherlandish art and culture: Hendrick Hondius the Elder’s 1610 publication of 68 portrait prints of artists.",
   "The Courtauld is also fortunate to possess truly exceptional photographic resources, still not superseded by digital resources: the Witt Library, an unsurpassed collection of photographs of works of art, and its equivalent for architecture and sculpture, the Conway Library, in which British works are particularly well represented. The libraries’ photographic collections span a wide geography including urban and architectural views from Morocco to India.",
   "Thanks above all to the Princes Gate Collection, The Courtauld Gallery possesses a world-class collection of seventeenth-century Flemish paintings, supplemented by important holdings in English and Italian art from c.1600 to 1800; the Gallery’s enormous collection of works on paper is also especially strong in the early modern field, and offers innumerable opportunities for original research."
  ],
  "flag": "方向叙述页（'The members of The Courtauld's Early Modern section'），非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Medieval and Byzantine",
  "url": "https://courtauld.ac.uk/research/research-areas/medieval-and-byzantine/",
  "person_links": 6,
  "named_persons": [
   "Dr Jessica Barker Senior Lecturer",
   "Professor Alixe Bovey",
   "Professor Joanna Cannon Professor Emerita",
   "Professor Antony Eastmond",
   "Dr Tom Nickson Reader"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Courtauld is the most vibrant and dynamic centre for the study of medieval art in the UK. We offer teaching and supervision across the full breadth of the medieval world, however defined. We have students and staff who work on everything from Spain in the west to Byzantium and the Caucasus in the east. Our expertise runs from Late Antiquity to the fifteenth century and beyond (we have a very inclusive view of what constitutes the medieval world), and although much research is centred on the religious cultures of the medieval world, we also work on every aspect of society and its visual life, including art and politics, relationships between texts and images, manifestations of identities (whether personal, religious, legal or gendered), cultural exchange between Christianity, Judaism and Islam.",
   "We also share many interests and opportunities with our colleagues working on other periods of the history of art at The Courtauld – whether that is based in material (we have strong interests in architectural history and technical art history, working with our conservation departments), theoretical questions (a growing community working on anthropology and art, for example), or theme (a cluster of scholars with a shared interest in Iconoclasm – the power of images and the need for their destruction in Christian and Islamic societies from the ancient world to the present day).",
   "The Courtauld’s Medieval and Byzantine community is lively and friendly. Each year we take approximately 30 students on to the various Byzantine and medieval MA Special Options that we offer, and we have a strong community of more than 20 PhD students. Our doctoral students are a supportive group of people who share the joys and occasional frustrations of carrying out research. Through our membership of CHASE (Consortium for the History of Art in the South East), our PhD students have opportunities to collaborate in a broader academic world with a number of other universities.",
   "In addition to inviting speakers from around the world to present at the Medieval Work-in-Progress research seminars held three times each term, our students organise regular student seminars to gain experience of speaking in a more informal setting, and they also organise the annual postgraduate medieval colloquium, which has now been running for more than 20 years. Every year we host the ICMA lecture at The Courtauld (bringing in a major scholar from the USA to speak), and we organise regular handling sessions with colleagues at the National Gallery, British Library, British Museum and Victoria and Albert Museum to ensure that we keep a close focus on original objects and works of art; alongside these we hold reading groups to think about the theoretical questions that inform the ways in which we interpret the material we are studying. We all also organise individual conferences, workshops and meetings to discuss questions of particular interest to our current research projects. Giotto’s Circle is a seminar group dedicated to discussing Italian art and architecture of the later middle ages.",
   "Our students have gone on to work in museums, galleries, auction houses and dealers. Many hold academic positions across the UK, Europe and the US. Others have used the MA and PhD to carry out the more detailed research they had been unable to do as an undergraduate, and then use that experience to enhance their job opportunities across the whole spectrum of employment.",
   "Find out more about the ongoing research into Medieval and Byzantine at The Courtauld and how you can get involved."
  ],
  "flag": "方向叙述页（period section），非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Modern and Contemporary [Archived]",
  "url": "https://courtauld.ac.uk/research/research-areas/modern-and-contemporary/",
  "person_links": 19,
  "named_persons": [
   "Dr Caroline Levitt",
   "Professor Sussan Babaie Professor",
   "Dr Lucy Bradnock Reader",
   "Professor David Peters Corbett Professor",
   "Professor Jo Applin",
   "Professor Dorothy Price",
   "Dr Johanna Gosse Lecturer",
   "Dr Catherine Grant Reader",
   "Professor Klara Kemp-",
   "Dr Natalia Murray Lecturer",
   "Professor Gavin Parkinson Professor",
   "Professor Robin Schuldenfrei Tangen Professor",
   "Dr Wenny Teo Senior Lecturer",
   "Professor Sarah Wilson Professor",
   "Dr Tom Nowicki Young Senior",
   "Dr Bergit Arends Teaching Fellow",
   "Dr Helena Vilalta Conesa Centre",
   "Dr Linzhi Zhang British Academy",
   "Dr Yayu Zheng Asymmetry Postdoctoral",
   "Dr Robin Schuldenfrei"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "There is a very active community of researchers at The Courtauld who specialise in art from the mid-nineteenth century to the present day. Undergraduates and MAs are encouraged to join current (and often former) PhDs at the regular meetings of the Modern and Contemporary Research Seminars, which attract distinguished scholars in London and beyond. Public lectures with acclaimed visiting speakers are regularly organised, and the Courtauld organises and hosts colloquia and large-scale conferences in connection with events such as exhibitions.",
   "MA students write their dissertations either on material arising directly from their course or, with their supervisor’s approval, on any other viable topic. The best dissertations achieve publishable standard in leading journals.",
   "With the range of interests and expertise of the staff, and the availability of research resources in London, research students are encouraged to undertake pioneering work in a range of areas of art history. The large number of active research students in the modern and contemporary area creates a supportive and stimulating environment.",
   "There is a very active community of researchers. Undergraduates and MAs are encouraged to join current (and often former) PhDs at the regular meetings of the Modern and Contemporary Research Seminars, which attract distinguished scholars in London and beyond. Public lectures with acclaimed visiting speakers are regularly organised, and the Courtauld organises and hosts colloquia and large-scale conferences in connection with events such as exhibitions.",
   "Many PhDs will be published in whole or in part, substantially revised or in some cases substantially as submitted.",
   "Modernities: Architecture / Design/ Theory is a series of events organised by Dr Robin Schuldenfrei (Tangen Reader in 20th-century Modernism)"
  ],
  "flag": "方向叙述页（period section，archived），非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Renaissance",
  "url": "https://courtauld.ac.uk/research/research-areas/renaissance/",
  "person_links": 4,
  "named_persons": [
   "Professor Susie Nash Deborah Loeb",
   "Professor Guido Rebecchini Professor"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [],
  "flag": "方向叙述页（period section），非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Wall Painting Conservation in Context (in-person)",
  "url": "https://courtauld.ac.uk/research/research-areas/wall-painting-conservation/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [
   "learning@courtauld.ac.uk"
  ],
  "direction_paras": [
   "Join us in-person at The Courtauld Gallery for a behind-the-scenes introduction to the world of wall painting conservation.",
   "Participants will have the chance to visit our new exhibition showcasing the spectacular medieval murals at Longthorpe Tower near Peterborough. As well as learning about the history of the site, and the making and meaning of its paintings, you will gain insights into our current collaboration with English Heritage to conserve this important scheme.",
   "In the afternoon you will have the opportunity for some hands-on practical experience in our state-of-the art conservation studios. Working with members of the Conservation team, you will discover more about wall painting materials and techniques while creating your own small wall painting replica.",
   "Run by Courtauld Lecturers Sibylla Tringham and Emily Howe, the day will provide you with valuable insights into this fascinating area of study, which brings scientific approaches to the study of art.",
   "Key Information Event: Wall Painting Conservation in Context Date: Saturday 14th March 2026 Time: 10:00am – 3:00pm Location: In-person, at The Courtauld Gallery",
   "These workshops are free and open to students attending UK state schools and colleges. Suitable for ages 16-18, with preference given to Y12 students (or equivalent). Booking is essential due to popular demand. Any questions, please email learning@courtauld.ac.uk"
  ],
  "flag": "公众工作坊（'Free Young People's Workshop'），非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Material Witness [Archived]",
  "url": "https://courtauld.ac.uk/research/material-witness/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "A multidisciplinary training programme for doctoral students across the CHASE consortium, based in The Courtauld Research Forum."
  ],
  "flag": "培养计划（'A multidisciplinary training programme for doctoral students'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Undisciplined Spaces",
  "url": "https://courtauld.ac.uk/research/undisciplined-spaces/",
  "person_links": 0,
  "named_persons": [
   "Dr Emma Libonati"
  ],
  "leader_hint": null,
  "emails": [
   "Emma.1.Libonati@kcl.ac.uk"
  ],
  "direction_paras": [
   "Undisciplined Spaces has been running annually as a professional development opportunity since 2023. This year, KCL’s faculty of Arts and Humanities is partnering with the Courtauld Institute of Art to extend the opportunity to our Postgraduate Research (MPhil/PhD) students. The programme will embed and extend skills, opportunities, and experiences for dynamic, impactful, community-based engagement activities within the next generation of researchers. It will drive positive, meaningful social change rooted in research across local London communities.",
   "Undisciplined Spaces provides a unique opportunity to co-design and deliver with local community partners a meaningful and accessible engagement activity rooted in community priorities and based on research in the arts and humanities.",
   "Participants work collaboratively in three teams to produce engagement activities, so gaining expertise on project design and delivery, and on research impact and knowledge exchange agendas. Each team is partnered with a London-based community organisation. Our partners are: Arts Network, Positively UK, and Release.",
   "Learn the skills to embed impact and knowledge exchange activities, and the tools to evaluate their effectiveness, into research to make it societally relevant.",
   "Make a positive difference by working with a local community to address issues important to them and enhance their capacity to create change.",
   "Expand your skills and mindset from a traditional PhD experience by: developing an innovative project creatively and unconventionally; working in an interdisciplinary team of postgraduate researchers; engaging with issues of cultural competency and sensitivity."
  ],
  "flag": "职业发展 programme（'a professional development opportunity'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "X-Sheds: An Interactive Art History of Experience",
  "url": "https://courtauld.ac.uk/research/x-sheds-an-interactive-art-history-of-experience/",
  "person_links": 0,
  "named_persons": [
   "Dr Stephen Whiteman",
   "Dr Hedren Sum"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "A digital project led by Dr Stephen Whiteman, with Dr Hedren Sum, exploring subjective experience of culturally-mediated landscapes in premodern China, with support from the Power Institute, University of Sydney.",
   "‘X-Sheds: An Interactive Art History of Experience’ (X-Sheds), explores the multi- faceted nature of subjective experience through deep modelling of historical spaces. Building on the principle of the viewshed, which describes the visual Yield from a given point of view, X-Sheds, or experience sheds, seek to model the multiple inputs that shape our or a historical actor’s experience of the landscape from or within a particular environment. Combining geospatially aware three-dimensional models grounded in archival and Yield research with visual and literary materials and experimental approaches to user interface, X-Sheds offers a productive alternative to textual description and analysis in understanding and engaging with the multisensory and cognitive dimensions of experience in historical environments."
  ],
  "flag": "数字项目（'A digital project led by Dr Stephen Whiteman'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Voicing the Archive",
  "url": "https://courtauld.ac.uk/research/voicing-the-archive/",
  "person_links": 0,
  "named_persons": [
   "Dr Wenny Teo"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "A new podcast featuring contemporary Chinese artists that examines the history of Chinese immigration to the UK on a series of podcasts."
  ],
  "flag": "播客项目（'A new podcast'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Museum Debates [Archived]",
  "url": "https://courtauld.ac.uk/research/museum-debates/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Museum Debates is a series of public discussions devised, organised and staged each year by the students of The Courtauld’s MA, Curating the Art Museum. The intention is to focus on issues of current interest and urgency relating to museums and galleries and to the practice of curating; to identify speakers with distinct views and perspectives both within the Institute and more widely; and to frame lively debates that engage a broad audience, of students, professionals and the public at large.",
   "Organised by the MA Curating the Art Museum cohort, performance is a defining thread throughout their exhibition Good Morning, Midnight. This panel expands upon the theme of performance, considering the complexities of curating and commissioning perf...",
   "Organised by the MA Curating the Art Museum cohort, this museum debate 'Contested Threads: Curating Textiles' brings together artists, curators, and art historians for a critical discussion on the display of textiles in contemporary art spaces, expl...",
   "Organised by the MA Curating the Art Museum cohort, this year's museum debate 'Material Matters: Materiality in Contemporary Art' brings together artists, curators, art historians and conservators for a critical discussion on the role that materials ...",
   "Join us at the Zaha Hadid Foundation for this debate organised by the MA Curating the Art Museum cohort.",
   "Organized by the MA Curating the Art Museum cohort at the Courtauld Institute of Art, this museum debate seeks to answer these questions and to illustrate the importance of collective practice."
  ],
  "flag": "系列（'a series of public discussions ... by the students of the MA'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Events organised by Robin Schuldenfrei",
  "url": "https://courtauld.ac.uk/research/events-organised-by-robin-schuldenfrei/",
  "person_links": 0,
  "named_persons": [
   "Dr Sigrid Faltin",
   "Dr Shulamith Behr",
   "Dr Robin Schuldenfrei"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Min Kyung Lee discusses the Korean-owned wig store as an overlooked urban space through which Korean and African American migrations became materially entangled in the late twentieth-century United States.",
   "Join Sven Spieker as he examines artworks by contemporary Kazakh artists who work with the material trappings of statehood, including flags and maps.",
   "In this lecture and panel discussion, Anke Kempkes will be joined by queer Modernism expert Thomas Kennedy and artist Than Hussein Clark to explore questions surrounding the curatorial framing of queer art in the Modern era. The conversation will dra...",
   "Shiben Banerji tracks the figure of the migrant in the American architect Marion Mahony’s unpublished memoir, The Magic of America. Mahony composed the text between 1938 and 1949, in the twilight of her five-decade-long career across the United State...",
   "Join director Dr Sigrid Faltin for the London premiere of her documentary \"Lucia Moholy: Bauhaus Photographer\", which delves into the artistic practice and enduring legacy of a remarkable pioneer. The screening will be followed by a Q&A with the dire...",
   "Join Duc Le for a talk on 20th-century Vietnamese architecture, exploring the state of neglected modernist heritage sites and innovative preservation methods in Vietnam"
  ],
  "flag": "个人活动列表页，非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "404 - Page Not Found",
  "url": "https://courtauld.ac.uk/research/research-resources/",
  "person_links": 0,
  "named_persons": [
   "Professor Dame Linda Colley"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Explore The Courtauld’s events, talks, exhibitions, lectures and courses. We welcome everyone with an interest in art and art history, from young people and families to academics and researchers.",
   "Join Hao Sheng, curator of Buddha|Nature, as they present the Xuzhou Collection of Buddhist Art, an extraordinary collection of pan-Asian Buddhist sculptures that has been on long-term loan at the Museum of Fine Arts, Houston. This public talk will a...",
   "Join us for a lecture from Professor Dame Linda Colley on Edward Gibbon",
   "Held on occasion of the upcoming edition of the Frieze Masters fair (14-18 October 2026), this panel discussion will offer the opportunity to discover some of the highlights of this year’s Spotlight section. With a particular emphasis on art from acr..."
  ],
  "flag": "404 空页"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Research Team",
  "url": "https://courtauld.ac.uk/research/research-team/",
  "person_links": 7,
  "named_persons": [
   "Dr Lucy Bradnock Reader",
   "Dr Naomi Billingsley Head",
   "Dr Rebecca Senior Impact"
  ],
  "leader_hint": null,
  "emails": [
   "researchoffice@courtauld.ac.uk",
   "researchforum@courtauld.ac.uk",
   "pgadmissions@courtauld.ac.uk",
   "programme.operations@courtauld.ac.uk"
  ],
  "direction_paras": [
   "For queries about grants, collaborations, policy and strategy: researchoffice@courtauld.ac.uk",
   "For queries about research events and communications: researchforum@courtauld.ac.uk",
   "For queries about postgraduate research admissions: pgadmissions@courtauld.ac.uk",
   "For information or opportunities for circulation to the current postgraduate research community: programme.operations@courtauld.ac.uk"
  ],
  "flag": "行政团队（Research Office 人员），非研究组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Courtauld Trans-Asias Faculty",
  "url": "https://courtauld.ac.uk/research/courtauld-asias/who-we-are/",
  "person_links": 10,
  "named_persons": [
   "Dr Sujatha Arundathi Meegama Sujatha",
   "Dr Devika Singh",
   "Dr Wenny Teo",
   "Professor Stephen Whiteman"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Sussan Babaie is a specialist of the arts and architecture of the early modern Safavid period, with topics on urbanism and empire studies, on sexuality and social habits of ‘seeing’, and on transcultural visuality and notions of exoticism. Her research and teaching maintain a strong commitment to transcultural methodologies and especially trans-Asian subjects.",
   "Sujatha Meegama’s research interests focus broadly on trans-Asian encounters in the Indian Ocean, especially the medieval and early modern worlds. She takes a trans-national approach to teaching Buddhist art histories and Indian Ocean art histories at the undergraduate and post-graduate level through shared themes, mediums, and methodologies.",
   "Maria Mileeva’s research centres around postcolonial and decolonial narratives of the Russo-Soviet imperial projects and Soviet multinationalism. Geographically, her teaching covers the far reaches of Soviet Russia geopolitical influence and ambitions, including Central Asia and the Caucasus, Europe, Asia, Africa, and the Americas.",
   "Lan Pu is a wall painting conservator, engaged in examining sustainable methods for preserving Buddhist heritage through an interdisciplinary approach. Her research areas primarily focus on wall paintings in the Himalayas and other related regions, with special attention paid to religious domains in Bhutan and Tibet.",
   "Devika Singh specialises in curatorial practice in modern and contemporary art, with a particular emphasis on art in South Asia and the transnational history of modernism. She has curated exhibition in a diversity of contexts, ranging from India and Bangladesh to the UAE and the UK.",
   "Leili Sreberny-Mohammadi is an anthropologist with an interest in cultural production, transnationalism and art infrastructure in the Middle East and Gulf countries. She has taught widely at the undergraduate and postgraduate level at New York University, Sotheby’s Institute of Art and London School of Economics and Political Science."
  ],
  "flag": "faculty 名录页，非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Our Projects",
  "url": "https://courtauld.ac.uk/research/courtauld-asias/our-projects/",
  "person_links": 0,
  "named_persons": [
   "Professor Pierre Singarav",
   "Dr. Nick Swann",
   "Dr Klara Kemp-",
   "Dr Maria Mileeva",
   "Dr Bomin Su",
   "Dr Devika Singh"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "This lecture series presented work from leading researchers who use digital methods in art history and technical art history/conservation to think in new ways about our disciplines. It explores how the digital and computational can be used to advance...",
   "Since the outbreak of the Covid-19 pandemic in early 2020, there has been a surge in racist attacks against Asian and Asian diasporic people across the globe; from everyday microaggressions to the recent mass shootings in Atlanta, USA, in March 2021....",
   "The 2019 Frank Davis Memorial Series invites four distinguished speakers to share new research in African art before the continent-wide colonialisation of the nineteenth century. Looking at the African material on its own terms rather than in light o...",
   "Tuesday 20th June, 9:00am - 18:00pm BST and Wednesday 21st June 2023, 9:30am - 12:15pm BST",
   "This two-day symposium addresses this interdisciplinary challenge from a diverse range of perspectives that foreground such questions as: how do maps operate as representations, and how do culturally situated understandings of space shape how they ar...",
   "This conversation between the two curators, Alexandra Green and Rosanna Nicolson, celebrates two exhibitions focusing on Southeast Asian art–“Burma to Myanmar” and “Theravada Buddhism”–concurrently showing at The British Museum and at National Museum..."
  ],
  "flag": "项目索引页，非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Art and Health [Archived]",
  "url": "https://courtauld.ac.uk/research/archived-research-clusters-groups-projects/art-and-health/",
  "person_links": 1,
  "named_persons": [
   "Dr. Emily Eastgate Brink",
   "Professor Sandra Carr",
   "Professor Mark Ledbury",
   "Dr. Stephen Whiteman"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Repositioning how we define and understand the collection and expression of biometrics since the industrial age, Art and Health: Early Biometrics and the Visualisation of Disease explored the formative relationship among art, visual technologies, and public health in the nineteenth century. Bringing together collections and scholars across the UK and Australia, this project sought to expand institutional dialogues through a collective examination of the modern body as both a subject and medium.",
   "Led by Dr. Emily Eastgate Brink at the University of Western Australia, this project was an institutional collaboration that included UWA, the University of Sydney, and The Courtauld.",
   "Dr. Emily Eastgate Brink is an Associate Professor in the History of Art at the University of Western Australia, where she focuses on the art and visual culture of the global eighteenth and nineteenth centuries. Her scholarship explores the European engagement with alterity in the later nineteenth century, with an emphasis on Asian ‘otherness,’ monstrosity, marginalised communities, and disease. This research has broad applications to the visual study of science, the history of material economies, portraiture, and the construction of identity in the modern period. Her work has received recognition and support from a variety of organisations, including: The Australian Institute of Art History, the National Library of Australia, the Mellon Foundation, and the Stanford University Humanities Center and has appeared in Word and Image, Ésprit Créateur, Architectural Theory Review, among other publications. Dr. Brink is the Chief Investigator for the Art and Health research grant, which informs her book project on portraiture and illness in the late nineteenth century.",
   "Professor Sandra Carr is a leading scholar of medical education and works within UWA’s School of Allied Health. Professor Carr developed the interdisciplinary Humanities in Health and Medicine course at UWA, which integrates the humanistic values of critical inquiry and observation into a study of health and illness. As a trained medical professional, Professor Carr provides invaluable perspective on diagnostic medicine and biometrics, while also helping to facilitate cross-disciplinary exchange with UWA’s medical students for the Art and Health research project.",
   "Professor Mark Ledbury is an established art historian with a commitment to object-based learning and research. Beyond a scholarly focus on the eighteenth and nineteenth centuries, Professor Ledbury’s research examines how transdisciplinarity can reshape Art History. As the Director of the Power Institute of Fine Arts at the University of Sydney, Professor Ledbury has been responsible for realising large-scale, transdisciplinary initiatives, including the development of the Centre for Visual Understanding and the Getty Foundation’s Connecting Art Histories project. Professor Ledbury will facilitate workshops, object-based seminars, and collection tours in Sydney for the Art and Health research grant.",
   "Dr. Stephen Whiteman is a leading scholar of Chinese Art History and the Art and Health research project’s liaison at the Courtauld Institute of Art. Dr. Whiteman has examined the intersection of Asian and Antipodean cultures through such projects as his Ambitious Alignment Initiative, and offers invaluable perspective on the marginalisation and pathologizing of Asian immigrants in modern Europe and Australia. Dr. Whiteman’s forthcoming research explores how maps informed the depiction of the Chinese body and has direct applications to the collaboration’s focus on portraiture, anatomy, and the diagnostic depiction of the human form."
  ],
  "flag": "跨机构项目（'Led by Dr. Emily Eastgate Brink at UWA'），非本组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "After Hours [Archived]",
  "url": "https://courtauld.ac.uk/research/after-hours/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Our After Hours series was produced as part of the Open Courtauld strand hosted by The Research Forum. This strand was all about sharing advanced research in art history, curating, and conservation, and was part of our Courtauld Connects project.",
   "Our ‘After Hours’ broached contemporary issues in society through participatory activities that encouraged new perspectives and thinking, focused on The Courtauld collection.",
   "Join The Courtauld for an evening of culture after dark at our latest ‘After Hours’ event and celebrate our latest exhibition of new and recent works by Peter Doig.",
   "To celebrate our latest exhibition of new and recent works by Peter Doig – including paintings and works on paper created since the artist’s move from Trinidad to London in 2021 – this After Hours event will grant attendees the opportunity to make, h...",
   "Join The Courtauld for an evening of culture after dark at our latest ‘After Hours’ event! Connecting Fuseli and the Modern Woman: Fashion, Fantasy, Fetishism and The Courtauld’s rich history of textiles and fashion, this After Hours event will trans...",
   "Anyone for tea? This ‘After Hour' will transform our gallery into a fantastical Tea Party — with pop-up talks, interventions, activities, food and drink inspired by our decorative arts collection and exhibition Kurdistan in the 1940s. Take part in te..."
  ],
  "flag": "公众活动系列（'Our After Hours series'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Open Courtauld Hour [Archived]",
  "url": "https://courtauld.ac.uk/research/open-courtauld-hour/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Open Courtauld Hour was a series produced as part of the Open Courtauld strand hosted by The Research Forum. This strand was all about sharing advanced research in art history, curating, and conservation, and is part of our Courtauld Connects project.",
   "This series provided concise one hour packages of pop-up talks, performances and in detail object study sessions that explored and celebrated our collection, research in art history, curation and conservation.",
   "The series touched upon pertinent issues — magnifying contemporary thinking in society through the field of art history. These episodes explored how the public, artists and galleries are adapting to a digital world, showcasing art historical research in light of this global pandemic and providing a platform for creative practice in the age of social distancing.",
   "Most importantly, as art is relevant to all, these informal sessions gave attendees the chance to access, engage and read art and art history through a different lens— revamping and rethinking art historical discussions through retelling hidden stories. These episodes platformed new perspectives, new ways into art practice, looking at art and reading its history through themes that impact us all.",
   "This special Open Courtauld Hour brings our exhibition, Fuseli and the Modern Woman: Fashion, Fantasy, Fetishism, to an online audience. The event, through the fragmentary information we have about sex work and sex workers at this time, will aim to i...",
   "This Open Courtauld Hour will interrogate the problematic history of tea, coffee and sugar and its connection to objects in The Courtauld Connection. The implicit relationship to the lives of those colonised and enslaved can be exposed through tracin..."
  ],
  "flag": "公众活动系列（'Open Courtauld Hour was a series'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Morgan Stanley Lates at Somerset House with The Courtauld [Archived]",
  "url": "https://courtauld.ac.uk/research/morgan-stanley-lates-at-somerset-house-with-the-courtauld/",
  "person_links": 0,
  "named_persons": [],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Morgan Stanley Lates offer after-hours access and activities across Somerset House and The Courtauld Gallery, as well as street food pop-ups, bars and sunset DJ sets to see you through the evening. Take part in curator tours, pop-up talks and object study sessions throughout the Gallery. After-hours exhibition entry to The Courtauld and all Somerset House activities will be free to those aged 25 and under.",
   "For the first time in its shared history, Somerset House and The Courtauld will throw open doors all around the spectacular central courtyard for a true site-takeover of Somerset House, packed with exclusive experiences themed around current exhibiti...",
   "The second Morgan Stanley Lates at Somerset House with The Courtauld event will take place on Wednesday 22 June, offering visitors the chance to see The Morgan Stanley Exhibition: Edvard Munch. Masterpieces from Bergen, enjoy pop-up talks, and a rang...",
   "The third Morgan Stanley Lates at Somerset House with The Courtauld event will take place on Weds 19 Oct, offering visitors the chance to see our latest temporary exhibitions, enjoy pop-up talks, and a range of other activities.",
   "The Morgan Stanley Lates at Somerset House with The Courtauld series offers visitors after-hours access to our latest exhibition and a range of other activities."
  ],
  "flag": "公众活动系列（after-hours 活动），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Trans-Asias: Early Modern Stories from the Courtauld",
  "url": "https://courtauld.ac.uk/research/trans-asias-early-modern-stories-from-the-courtauld/",
  "person_links": 0,
  "named_persons": [
   "Prof Sussan Babaie",
   "Dr Stephen Whiteman"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "led by Prof Sussan Babaie, Dr Stephen Whiteman, and Dr Henning von Mirbach in partnership with the website Things That Talk."
  ],
  "flag": "学生研究项目（'A collaborative student research project'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "The Asymmetry Distinguished Lecture Series on Contemporary Chinese and Sinophone Art",
  "url": "https://courtauld.ac.uk/research/the-asymmetry-distinguished-lecture-series-on-contemporary-chinese-and-sinophone-art/",
  "person_links": 0,
  "named_persons": [
   "Dr Feixuan Xu",
   "Dr Yayu Zheng"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Asymmetry Lecture Series is an annual programme of artist talks, conversations and screenings that provide a platform for artists, curators and scholars of East and Southeast Asian heritage to share their research and practice with wider audiences, focusing on issues of transculturality and representation in the global contemporary.",
   "The Asymmetry Distinguished Lecture Series on Contemporary Chinese and Sinophone Art 2025.",
   "Join us for the 2025 Asymmetry International Symposium, offering a dynamic programme of live readings, film screenings, presentations, and panels exploring the shifting currents between maritime history in Asia Pacific, and digital technologies",
   "The Asymmetry Distinguished Lecture Series on Contemporary Chinese and Sinophone Art 2024",
   "The inaugural Asymmetry Distinguished Lecture Series on Contemporary Chinese and Sinophone Art"
  ],
  "flag": "讲座系列（'an annual programme of artist talks, conversations and screenings'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "The Bahari Foundation Lectures on Art and Culture",
  "url": "https://courtauld.ac.uk/research/the-bahari-foundation-lectures-on-art-and-culture/",
  "person_links": 1,
  "named_persons": [
   "Dr. Farshid Emami",
   "Dr Mahroo Moosavi",
   "Professor Sussan Babaie Professor"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Bahari Foundation Lectures on Art and Culture are an annual lecture series inviting practicing artists, curators and scholars to think afresh about the trajectories of knowledge production on material and visual cultures of Iran. The Lecture Series aims to foreground transdisciplinary and cross-temporal approaches, considering as wide a range as contemporary arts and the antiquities of Iran.",
   "Join Dr. Farshid Emami for an online lecture on the Chaharbagh, a four-kilometre-long, tree-lined promenade that served as the primary venue of urban leisure in the capital of Isfahan, early modern Safavid Iran",
   "This lecture by Dr Mahroo Moosavi offers a re-reading of current understandings of the arts of the Safavids"
  ],
  "flag": "讲座系列（'are an annual lecture series'），非团队"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Honorary Research Fellows",
  "url": "https://courtauld.ac.uk/research/honorary-research-fellows/",
  "person_links": 9,
  "named_persons": [
   "Professor Lindy Grant Honorary Research",
   "Professor Margaret Iversen Honorary Research",
   "Professor John Osborne Honorary Research",
   "Dr Satish Padiyar Honorary Research",
   "Dr Venetia Porter Honorary Research",
   "Professor Patricia Rubin Honorary Research",
   "Professor Anne Wagner Honorary Research",
   "Dr Paul Williamson Honorary Research",
   "Dr Shulamith Behr Honorary Research",
   "Dr Sheila Mc",
   "Dr Rose Walker Honorary Research"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Courtauld’s Honorary Research Fellowships are awarded in recognition of a significant contribution to The Courtauld’s research culture and in honour of achievement in our fields of endeavour (art history, conservation, curating, and related disciplines). Honorary Research Fellows hold this title for a period of five years, and we are delighted to recognise them as important members of our community."
  ],
  "flag": "人员名录页，非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Visiting Expert archive",
  "url": "https://courtauld.ac.uk/research/visiting-expert-archive/",
  "person_links": 0,
  "named_persons": [
   "Professor Whitney Davis",
   "Professor Brigid Doherty"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "The Visiting Experts programme ran between 2004-2018 and facilitated an established scholar, conservator or artist to visit The Courtauld Institute of Art for a short amount of time – typically a week – and deliver a schedule of events. These generally include a public evening lecture, an intimate discussion session, and a site visit. Faculty and research students are particularly encouraged to engage with the scholar during their stay.",
   "Elizabeth Sears has two areas of specialization: European representational arts from the eighth through the fourteenth century and historiography. Much of her medieval research has involved close study of manuscripts, but her work has been characteristically thematic and problem-based (e.g. the iconography of sensory perception, author portraits and theories of authorship, guild regulations and the medieval critical eye). Her historiographical research, archive-based, has led her to study methods of image study. Publications include “Eye training: Goldschmidt/Wölfflin,” and treatments of figures standing in the Warburgian tradition including H. W. Janson, W. S. Heckscher, Edgar Wind, Fritz Saxl, Jean Seznec, and Kenneth Clark. She is currently engaged in writing a collective biography, tentatively titled Warburg Circles, 1929-1964, that throws light on a highly influential intellectual movement owed to scholars who emigrated from Germany in the Nazi era.",
   "Alexander Nagel is Professor at the Institute of Fine Arts, New York University. His book Michelangelo and the Reform of Art (Cambridge University Press, 2000) won the Phyllis Goodhart Gordan prize for best book in Renaissance studies from the Renaissance Society of America. His study of Italian art and the Reformation, The Controversy of Renaissance Art (University of Chicago Press, 2011), won the Charles Rufus Morey Book Award from the College Art Association. His interest in the multi-temporal life of works of art led to the publication of Anachronic Renaissance (co-authored with Christopher Wood, Zone Books, 2010) and Medieval Modern: Art out of Time (Thames and Hudson, 2012). Recently, Professor Nagel has turned his attention to questions of orientation and configurations of place in Renaissance art.",
   "Melanie Gifford is the Research Conservator for Painting Technology, National Gallery of Art Washington. On her visit to The Courtauld she gave a lecture and seminar based around her work for the exhibition Elegance and Refinement: the Still Life Paintings of Willem van Aelst (Houston and Washington, DC).",
   "Prof. Bolzoni is Professor of Italian Literature at the Scuola Normale Superiore in Pisa. She is one of the most celebrated scholars of her generation in Italy and has been a visiting professor at Harvard University, UCLA, New York University, and the Collège de France, as well as a visiting scholar at the Getty and visiting fellow at All Souls, Oxford. Her publications frequently focus on the relationship between literature and the visual arts in the Renaissance, or on the use of visual imagery in literature. She is especially well known for her work on memory, and on poetry and portraiture. Among her most lauded books are La stanza della memoria (1995; translated into English as The Gallery of Memory: Literary and Iconographic Models in the Age of the Printing Press, 2001); La rete delle immagini (2002; translated into English as The Web of Images: Vernacular Preaching from Its Origins to St. Bernardino da Siena, 2004); Poesia e ritratto nel Rinascimento, (2008); and Il cuore di cristallo. Ragionamenti d’amore, poesia e ritratto nel Rinascimento (2010).",
   "Lina gave an evening lecture, Memory Palaces in the Renaissance, a lunchtime seminar on Orlando Furioso from the original editions to modern video art, followed by a visit to the National Gallery for faculty members and research students."
  ],
  "flag": "人员/项目名录页，非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Migrations cluster heads",
  "url": "https://courtauld.ac.uk/research/researchseries/migrations-people-politics-objects/cluster-members/migrations-cluster-heads/",
  "person_links": 2,
  "named_persons": [
   "Professor Robin Schuldenfrei Schuldenfrei",
   "Professor Klara Kemp-"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Schuldenfrei’s research and teaching focuses on the history and theory of modern architecture, concentrating on the subjectivity, materiality, political agency, and social impact of objects and spaces. She utilizes both objects and architecture as cultural indices of society at large in order to illustrate the conscious and unconscious perspectives and values of the society that generated them. Her research in the area of exile and global movement examines paths of migration, exile and dislocation globally to consider issues of detemporalization and destabilization in modernism. As Cluster Head, Schuldenfrei seeks to brings together interdisciplinary research and creative work related to the global movement of peoples in order to explicate the cultural value, conditions and economics of migration through the study of objects and architecture, as well as its political and legal frameworks.",
   "Klara Kemp-Welch works on modern and contemporary art from Eastern Europe. She was educated at the School of Slavonic and East European Studies and University College London. She is the author of Antipolitics in Central European Art. Reticence as Dissidence under Post-Totalitarian Rule 1956-1989 (IB Tauris, 2014), Networking the Bloc. Experimental Art in Eastern Europe 1965-1981 (MIT Press, 2019) and co-editor of A Reader in East-Central European Modernism 1918-1956 with Beata Hock and Jonathan Owen (Courtauld Books Online, 2019). She is currently completing a monograph entitled Free Movement? Documenting Migration and Mobility in Eastern Europe."
  ],
  "flag": "cluster 成员子页，非独立组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Migrations faculty members",
  "url": "https://courtauld.ac.uk/research/researchseries/migrations-people-politics-objects/cluster-members/migrations-faculty-members/",
  "person_links": 7,
  "named_persons": [
   "Dr Maria Mileeva Maria Mileeva",
   "Professor Dorothy Price Dorothy Price",
   "Dr Devika Singh Devika Singh",
   "Dr Devika Singh Dr Wenny",
   "Dr Wenny Teo Professor Sarah",
   "Dr Tom Young Tom Young"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Indie A. Choudhury is a specialist in the art, literary, and sonic Anglophone cultures of the Black Atlantic, particularly histories and theories of resistance, time and metaphysics, poetics-poethics, abstraction, and subjectivity. While her work is based in the modern and contemporary period, it encompasses the history, legacies, and afterlives of the transatlantic slave trade and other diasporic ruptures of migration and exile. Her research and teaching interests have an interdisciplinary remit, exploring the intersections between art history, literature, postcolonial studies, critical theory, and Black studies.",
   "Maria Mileeva is a specialist in Soviet and Post-Soviet art and culture. Her research and teaching focus on the production, circulation, and consumption of socialist art practices across the globe during the late Imperial, Soviet, Stalinist, late Soviet, and post-Soviet periods. Maria’s current major research project interrogates the linkages between the cultural policies of socialist realism and socialist internationalism in the former Soviet Republics, the Middle East, Asia and Africa. Her research centres around postcolonial and decolonial narratives of the Russo-Soviet imperial projects and Soviet multinationalism.",
   "Dorothy Price is Professor of Modern and Contemporary Art and Critical Race Art History at the Courtauld Institute of Art and a Fellow of the British Academy. She is the author of numerous books and articles on modern and contemporary art and also works as a curator. Her exhibitions have included Personal Feeling is the Main Thing with Chantal Joffe at The Lowry, Salford in 2018, For Esme with Love and Squalor also with Chantal Joffe at Arnolfini, Bristol in 2020, Making Modernism at The Royal Academy of Arts in 2023, Claudette Johnson Presence at The Courtauld Gallery in 2023 and the Royal Academy’s main galleries exhibition for Spring 2024, Entangled Pasts 1768-now: Art, colonialism and change.",
   "Devika Singh specialises in curatorial practice in modern and contemporary art, with a particular emphasis on art in South Asia and the transnational history of modernism. She has curated exhibition in a diversity of contexts, ranging from India and Bangladesh to the UAE and the UK.",
   "Wenny Teo researches and teaches on Modern and Contemporary East and Southeast Asian art with a focus on China and transnational Sinophone cultures. Current research includes ‘infrastructural imaginaries’ in contemporary Chinese art, focusing on issues of ecology, technology and the Belt and Road.",
   "Sarah Wilson is an art historian and curator whose interests extend from post-war and Cold War Europe and the USSR to contemporary global art. She was educated at the University of Oxford (BA English Literature) and at the Courtauld, where she took her MA and PhD degrees. She joined The Courtauld’s faculty in 1982."
  ],
  "flag": "cluster 成员子页，非独立组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Migrations projects & events",
  "url": "https://courtauld.ac.uk/research/researchseries/migrations-people-politics-objects/migrations-projects-events/",
  "person_links": 0,
  "named_persons": [
   "Dr Jasmina Tumbas",
   "Dr Choghakate Kazarian",
   "Dr Sigrid Faltin",
   "Dr Rebecka Jinks"
  ],
  "leader_hint": null,
  "emails": [],
  "direction_paras": [
   "Shiben Banerji tracks the figure of the migrant in the American architect Marion Mahony’s unpublished memoir, The Magic of America. Mahony composed the text between 1938 and 1949, in the twilight of her five-decade-long career across the United State...",
   "Join artist Eleonore de Montesquiou for an evening of film screenings and conversation on the complexities of filmmaking on the border. Drawing from her own experiences of displacement, Eleonore’s work explores the ambiguities of life on the margins....",
   "Join us to celebrate the publication of 'Ambicoloniality and War. The Ukrainian-Russian Case', by Svitlana Biedarieva. The book proposes the new notion of “ambicoloniality” to speak about the current situation when Ukraine has become Russia's territo...",
   "Join Dr Jasmina Tumbas for this lecture examining Yugoslav diasporic contemporary art from the 1990s to today through the lens of queer and feminist",
   "Join Dr Choghakate Kazarian for this talk examining the early years of the art collection of Sergei Djavadian, focused on abstract and conceptual works by key members of the famous 3rd Floor group, considered the first movement of contemporary art in...",
   "Join director Dr Sigrid Faltin for the London premiere of her documentary \"Lucia Moholy: Bauhaus Photographer\", which delves into the artistic practice and enduring legacy of a remarkable pioneer. The screening will be followed by a Q&A with the dire..."
  ],
  "flag": "活动列表子页，非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "Faculty",
  "url": "https://courtauld.ac.uk/research/faculty/",
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  "emails": [],
  "direction_paras": [],
  "flag": "人员名录页（全院 teaching staff 名单），非组"
 },
 {
  "school": "The Courtauld Institute of Art",
  "name": "The Research Forum",
  "url": "https://courtauld.ac.uk/research/the-research-forum/",
  "person_links": 0,
  "named_persons": [],
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  "flag": "论坛（活动与传播单位，'leads on the activity related to research dissemination'），非研究组"
 }
]