Inside

Inga Fraser

PhD Work

Towards Artists' Moving Image: Film and Cinematic Consciousness, Britain 1896-1966

Provisionally titled Towards Artists' Moving Image: Film and Cinematic Consciousness, Britain 1896-1966, Fraser's thesis focuses on instances when cinematic form, theory, technology, architecture, discourse, ephemera and ideology influenced existing media of painting, sculpture and printmaking, and/ or inspired artists to work with film or forms of paracinema. Drawing on the archives of artists, collectives and theorists held at the Tate and elsewhere—as well as published accounts in journals and the national and local press—this thesis traces artists’ engagement with film and cinema, and argues for this body of work's inclusion under the present rubric of artists’ moving image.

Info

  • PhD

    School

    School of Arts & Humanities

    Programme

    Critical & Historical Studies, 2016–2019

  • Inga Fraser is a curator and writer with over ten years' experience working in museums and galleries in London. She is an AHRC-funded collaborative doctoral student with Tate and the Royal College of Art researching artists’ engagement with film in Britain in the first half of the twentieth-century.

  • Degrees

  • MA History of Art, Birkbeck College, University of London, 2008; BA History, Goldsmiths College, University of London, 2005
  • Experience

  • Assistant Curator, Modern British Art, Tate (2013-2017); Assistant Curator, 20th Century and Contemporary, NPG (2011-2013); Associate Curator, Fashion in Film, (2009-2011)
  • Exhibitions

  • Paule Vézelay, Tate Britain, London, 2017; Co-op Dialogues, Tate Britain, London, 2016; Paul Nash, Tate Britain, London, 2016-2017; Barbara Hepworth, Tate Britain, London, 2015
  • Awards

  • Mobius Fellowship, Ateneum, Helsinki (2015); Jonathan Ruffer Curatorial Grant , New York (2013)
  • Conferences

  • 'Stilled Rhythms or Vitalised Matter: Frank Dobson and Henry Moore in London 1919-1930', at BECOMING HENRY MOORE, Henry Moore Institute, Hertfordshire, 2017; 'Make Me a Pavilion' at ARTISTS' MOVING IMAGE PRACTICE IN BRITAIN: FROM 1990 TO TODAY, Whitechapel Gallery, London, 2015; 'Body/ Room/ Photograph' at THE MODERN INTERIORS RESEARCH CENTRE CONFERENCE, Kingston University, London, 2010; 'Early Film/ Fashion Film' at FOKUS VIDEO KUNST FESTIVAL, Nikolaj Kunsthal, Copenhagen, 2011
  • Publications

  • 'Visual Culture', The Year's Work in Critical and Cultural Theory,Vol. 25, 2017; 'Kinomuseum? Film and video at the Tate Gallery: the rushes of a relationship', LUX Online, November 2017; ‘From a Sheet of Paper to the Sky: pattern in the work of Paul Nash’, Paul Nash (ed. Emma Chambers, Tate, 2016); '"New relations, unsuspected harmonies": Modern British Art in Finland, 1906–1964', FNG Research, Issue No. 4, 2016; 'Visual Culture', The Year's Work in Critical and Cultural Theory, Vol. 24, 2016, pp. 246–268; ‘Media and Movement: Barbara Hepworth beyond the lens’ in Barbara Hepworth: Sculpture for a Modern World (eds. Penelope Curtis and Chris Stephens, Tate, 2015); 'The "English Independents": some twentieth-century women carvers', Sculpture Journal, Vol. 23, Issue 3, 2014; 'Born Fully Clothed: the Significance of Costume for the Silent Cinema Vamp’ in Birds of Paradise: Costume as Cinematic Spectacle (ed. Marketa Uhlirova, Koenig, 2014); 'Tree, Iris (1897–1968)', The Oxford Dictionary of National Biography (Oxford University Press, 2014); ‘Body, Room, Photograph: Negotiating identity in the self-portraits of Lady Ottoline Morrell’ in Biography, Identity and the Modern Interior, (eds. Penny Sparke and Anne Massey, Ashgate, 2013)