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Kim Dhillon

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Dissertation:

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  • I am a writer, art historian, and artist. Broadly speaking, my research examines the legacies of second wave feminism, its intersections with conceptualism, text, written language and material culture. More specifically, past projects have explored 1970s feminist publishing collectives in the US, the relationship of the Bauhaus to the kindergarten, and legacies of care and labour in art school infrastructures.

  • Previous degrees

  • BA English (Cultural Studies) and Art History, McGill University, Montreal, QC., 2003; MA Curatorial Studies, Goldsmiths College, University of London, 2005
  • Exhibitions

  • 2017, We Tell Ourselves Stories in Order to Live, The Reading Room, The Arnolfini, Bristol, UK (solo).; 2017, Forms of Action, Centre for Contemporary Art, Glasgow, UK, curated by Viviana Checchia (group).; 2016, Changing Play, Serpentine Gallery, London, UK (solo, in collaboration with Andrea Francke).; 2015, Pequeñas Histórias de Maternidad III (Small Stories of the Maternal III), Miro Quesada, Lima, Peru, curated by Natália Iguiñiz (group, in collaboration with Andrea Francke).; 2010- , Crib Notes, the Whitechapel Gallery, London, UK (solo).
  • Conferences

  • 2017, ‘We Tell Ourselves Stories in Order to Live,’ The Children’s ’68, University of Tours, France; 2017, ‘A Matter of Words: How 1970s Feminist Critiques of Conceptual Art Embraced Language,’ Making Women's Art Matter: New Approaches to the Careers and Legacies of Women Artists, Paul Mellon Centre for Studies in British Art, London, UK. 10-11 February.; 2016, ‘Critiquing Text from Within: From Informational and Analytical Texts to Textual Subjectivities: Mary Kelly’s Post-Partum Document (1973-9),’ Text at the Museum, National Museum, Krakow, Poland. 26-27 October.; 2015, ‘Politicising Motherhood: Creative Practice, Activism, and the Mother,’ Creative Practice and Motherhood, London Southbank University, London, UK. 1-2 June.; 2014, ‘Growing Pains: Childcare, Children, Parents, and the Royal College of Art,’ Creche Course, The Showroom, London, UK. 11 January.; 2013, ‘Shouts and Murmurs: Sue Tompkins’ Textual Repetition as Visual Documents and Verbal Utterances,’ Non-Reproduction: Politics, Ethics, Aesthetics, Birkbeck College, University of London, London, UK. 31 January – 1 February.; 2011, ‘The Looking Glass and the Crystal Goblet: Typography and Pornography in Fiona Banner’s Arsewoman in Wonderland,’ Art, Aesthetics and Pornography, Institute of Philosophy, Birkbeck College and University of Kent, London, UK. 17 June.
  • Publications

  • 2016, ‘The C-Word: Art, Activism, Motherhood, and Childcare,’ Studies in the Maternal, Birkbeck, University of London, UK. 8(2): 12, pp. 1-22.; 2011, ‘See It Now or Miss It Forever: Visuality, Materiality, and the Written Word in Janice Kerbel’s Recent Artwork,’ Canadian Art Review/RACAR, Vol 36, No 1, pp. 17-28.
Royal College of Art Royal College
of Art Graduate
Exhibition

25 June –
5 July 2015

Royal College
of Art Graduate
Exhibition