As exhibitors and curators of collections at world-famous venues, the Art Research Division makes an international impression on the creative community.
Driven by a desire to support artistic research, propose new forms of art and stimulate public discourse, we make a distinctive contribution to creative knowledge through practice-led, theoretical and historical modes of enquiry.
Our research excellence seeks to engage both the production and reception of contemporary art, exploring the interlinking roles of artist, curator and writer, and the transforming categories of practice, theory and criticism.
Key areas of focus include exhibition and curatorial practice, publication projects and critical art writing, underpinned by an emphasis on digital technologies as a format for the production, dispersion and interpretation of art.
We work with international museums, galleries and collections – including the Tate Modern and Museum of Modern Art in New York – and share our research with both specialist and non-academic audiences.
For specific enquiries, please contact:
Research Division Lead
Telephone: +44 (0)118 378 8053
An award-winning project led by an Art Research Division academic is helping to give people with learning difficulties a greater understanding of cultural heritage.
Dr Kate Allen’s Sensory Objects research creates interactive, multisensory artworks that replicate or respond to museum collections.
Developed in collaboration with people with learning difficulties through sensory art and electronics-based workshops, the hands-on exhibits include objects that react to light or movement and recreations of physical experiences.
Curated by Art at Reading’s Lina Džuverović, Monuments Should Not Be Trusted brings together the work of more than 30 leading artists and groups from the "golden years" of the Socialist Federal Republic of Yugoslavia.
The exhibition at Nottingham Contemporary features more than 100 artworks and artefacts that illuminate the key contradictions of the single-party state, which was built after the Second World War on socialist principles yet immersed in "utopian consumerism", between the early 1960s and mid-1980s.
A first for the UK, the art is shown in the context of the social, economic and political conditions that gave rise to it. Monuments Should Not Be Trusted draws on new and innovative research on this period, and features many of its most celebrated artists.
For details of our study opportunities, visit: