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 Courtauld51²è¹Ý¶ù faculty in 1982. Â She was Head of the Modern and Contemporary Section at the Courtauld from 2005-Spring 2008 and has been Head of Diploma programmes during 2014-2015.
In 2010-11, with Mellon Professor Boris Groys (New York University) Sarah Wilson initiated the MA course, âGlobal Conceptualismâ, which links Anglo-American conceptual art and European lineages stemming from MallarmÃ©, Duchamp and structural linguistics, with conceptual art practices originating in Moscow or taken up beyond the âfirstâ world. Â She takes an active role in CCRAC, the Cambridge-Courtauld Russian Art Centre, with the contemporary exhibition and talks programme of Calvert 22 which reaches out to Russia and Eastern Europe, and with Pushkin House in London.Â Â Â From 2013 she expanded Â her âGlobal Conceptualismâ MA remit with an interest in modern and contemporary Asia. Â In 2014 she was appointed to the curatorial team of the 1st Asian Biennale (China-Guangzhou).
Recognised as theÂ international English-language expert on Post-War European art, Â including French Stalinism, Â neo-Marxism and the arts, Â regularly lectures and teaches in Paris â as Â Professor at Paris-IV Sorbonne ( 2002-4), with Serge Lemoine Â (former director of the MusÃ©e dâOrsay) when she also produced a report Â on the Institut National dâHistoire de lâArt, commissioned by the French Minister for Research; at the Ecole Nationale SupÃ©rieure des Beaux-Arts (2006-7);Â and at the UniversitÃ© de Versailles-Saint Quentin where she held a chaire dâexcellence (2012-13). She has served on doctoral juries for Paris-Sorbonne 1 and IV, VIII, the Universities of Lille and Bordeaux. In 1997 she was appointed Chevalier des Arts et des Lettres for services to French art and culture.
Sarah51²è¹Ý¶ù Â major publications include : Paris, Capital of the Arts,1900-1968 (Royal Academy, 2002), a substantial ±ô¾±±¹°ù±ðâc²¹³Ù²¹±ô´Ç²µ³Ü±ð and the standard publication on the subject, and The Visual World of French Theory: Figurations. A second volume: The Visual World of French Theory II: interventionsÂ (in preparation) will challenge the âFigurationsâ volume, with an emphasis on conceptual art, performance and film.
At the Courtauld, the doctoral and MA theses Sarah Wilson has supervised now constitute a unique English-language archive in the field of post-1945 European and Soviet/Russian art history, many leading to important publications. Â Former students are a source of particular pride. Many now hold prominent positions in academia, museums and galleries in Britain including: Tate, the National Portrait Gallery, the Scottish National Gallery of Modern Art, the British Council, London galleries such as the Hauser and Wirth, Timothy Taylor and White Cube, at the Universities of London, Cambridge, and Bristol ; and beyond the UK: the Hood Museum of Art, Dartmouth College, the Phoenix Museum of Art, the French Ministry of Culture, the Kunsthalle, Bremen, and the University of Amsterdam.
- Jessica Eisenthal, âTemporal Dissonance in Contemporary Israeli Photography and Videoâ
- , âArt in Action: Christoph Schlingensief51²è¹Ý¶ù Opera Village Africa and its Relation to Contemporary Art Practiceâ
- , âFather and Son, Pivarov and Peppersteinâ
- ,Â âLee Seung-Taek: Reconfiguring Avant-garde Art in Post-war Koreaâ
- Hui-Kyung An, âIdentities Contested: Contemporary Korean Art and its Exhibitions, 1961-1975â (2015)
- Aliya Abakayeva de Tiesenhausen, âSocialist Realist Orientalism? Depictions of Soviet Central Asia, 1934-1954â (2010)
- Rakhee Balaram, âFemmes RÃ©volutionnaires: Women and art in 1970s Franceâ (2009)
- Matthew Barr, âMichel Foucault and Visual Art, 1954-1988â (2007)
- Elizaveta Butakhova, âA-YA magazine: Soviet unofficial art between Moscow, Paris and New York, 1976-1986â (2015)
- Martina Caruso, âMiseria, Misericordia, MascolinitÃ : Italian Humanist Photography, 1932-1959â (2012)
- Nicholas Cullinan, âThe Archeology of Knowledge: Excavating Arte Poveraâ (2010)
- Jacopo Galimberti, âCollective Art: Politics and Authorship in 1960s Western Europe,1957-1968â (2012)
- Mireya E. Lewin, âAntoni TÃ pies and cultural identity: between the national Â and the internationalâ (2009)
- Hester Westley, âTraditions and Transmissions: St Martin51²è¹Ý¶ù Sculpture Department, 1960-1969â (2007)
- Nadim Samman, âBetween the Gulag and the Guggenheim: (post) Soviet artists and New York in the 1980s and 1990sâ (2011)
- Sylwia Serafinowicz-WesoÅowska, âMore than Documentation: Photography from the People51²è¹Ý¶ù Republic of Poland, 1965-1972â (2015)
- Post war Eastern and Western European art
- Cold War heritages including in USSR/Russia and China
- Contemporary art and its memories
- Academies and avant-gardes, 20thÂ and 21²õ³ÙÌýcenturies
- Picasso, Marx and Socialist Realism in France, Liverpool, Liverpool University Press, 2013
- The Visual World of French Theory: Figurations, New Haven and London, Yale University Press, 2010
- Matisse, Barcelona, Ediciones Poligrafam,Â 2009
Essays, articles and reviews
- Â âHeureux hasards conceptuels: Jacques Monory en Angleterreâ,Â Jacques Monory, Paris, Fonds Leclerc,Â 2015, pp. 107-111
- âPost-colonial Rococo: Yinka Shonibare MBE plays Fragonardâ, in Melissa Hyde, Katie Scott eds.Â Rococo Echo: Art, Theory and Historiography, Studies on Voltaire and the Eighteenth Century, Oxford, Voltaire Foundation, 2014, pp. 313-328
- Des meilleurs ennemis au âJardin dâamourâ:,Â Art et artistes Ã Paris et Ã Londres, Nos meilleurs ennemis : Lâentente culturelle franco-britannique revisitÃ©eÂ .Diana Cooper-Richet and Michel Rapoport eds., Paris, Atlande, pp. 81-99
- âKlossowski our Contemporaryâ, foreword to HervÃ© Castanet, âPierre Klossowski. The Pantomime of Spiritsâ, J.B.Bullen ed., Cultural Interactions. Studies in the Relationship between the Arts, vol. 22, 2014, pp. ix-xxv.
- âTears, Tirs, Ricochetsâ, Camille Morineau ed.,Â Niki de Saint Phalle, Paris, RÃ©union des MusÃ©es Nationaux, pp. 92-101, 359-360
- âJudit Reigl, of signs, of men and of angels, Julia FabÃ©ni ed.,Â Judit Reigl, Budapest, Ludwig Museum, pp. 68-93
- âA very great sculptor: Germaine Richierâ,Â Germaine Richier, New York, Dominique LÃ©vy, Galerie Perrotin, pp. 10-17
- ââDÃ©lit de tÃ©moignageâ: AndrÃ© Fougeron Ã travers un siÃ¨cleâ, inÂ Bruno Gaudichon ed., AndrÃ© Fougeron.Â 1913-1998.Â VoilÃ qui fait problÃ¨me vrai, Roubaix, La Piscine / Montreuil, Gourcoff Gradenigo, pp. 25-59
- âLoyalty and Blood. Picasso51²è¹Ý¶ù FBI Fileâ, in Jonathan Harris and Richard Koeck eds.,Â Picasso and the Politics of Visual Representation :War and Peace in the era of Cold War and since, Liverpool University Press, Tate Livepool Critical Forum,Â 2013, Â pp. 110-124
- âBergson before Deleuze: how to read informel painting, Charlotte de Mille and John Mullarky eds.,Â Bergson and the Art of Immanence: Painting, Photography, Film, Edinburgh, Edinburgh University Press, 2013, pp.80-93
- âLyotard, Monory: Postmodern Romanticsâ (in Herman Parret ed. Jean-FranÃ§ois Lyotard,Â Writing on Contemporary Art and Artists vol VI, Lâassassinat de lâexpÃ©rience par la peintureÌýâÂ Monory / The Assassination of Experience by PaintingÂ â Monory, Leuven, University of Leuven Press (updated version, bilingual), pp. 196-253
- âArt, Artefact and Empire Thirty Glorious years in Franceâ,Â Oxford Art Journal, volume 36, issue 2, 2013, pp. 310-312 (book review)
- âThe Expanded Seam; the Song of the Shirtâ,Â Pip Culbert, Galerie Kamila Regent, Saignon-en-Luberon,Â 2012
- âComintern spin doctorâ Willi MÃ¼nzenberg, artiste en rÃ©volution,Â 1889-1940,Â 2008,Â English Historical Review, vol. CXXVII , 526, June 2012, pp. 662-668
- âFrench socialist realism,1945-1970â, in Matthew Bown, Matteo Lafranconi eds.,Â Socialist Realisms. Soviet PaintingÂ 1920-1970, Milan, Skira, 2012, pp. 247-253
- âMoscow Romantic exceptionalism : the suspension of disbeliefâ, Boris Groys ed.,Â Moscow Symposium, Conceptualism revisited, e-flux journal,Â New York, Sternberg Press, Â pp.102-123
- âSilver Scales, Silver Ink, Quicksilver Traces: Lucia Joyceâ; âTilly Losch, reaching for intersubjective frontiersâ (with Adrien Sina) in Sina ed.,Â Feminine Futures Performance Dance War Politics and Eroticism, Dijon, Les Presses du RÃ©el, 2011, pp. 406-415, 416-418.
- 2012-2013Â Marie Curie Actions â RBUCE-UP, Chaire dâexcellence, UniversitÃ© de Versailles-Saint Quentin, âGlobalisation before Globalisation: avant-gardes, academies, revolutionsâ
Other professional activities
- Curator, fifth Â Guangzhou Triennale/ first Asia Biennale GDMoA (China) 2015
- Member of Executive committee, AICA (International Association of Art Critics, British branch)
- Member of Advisory Board, Department of Art History, New European University, Saint Petersburg.
- Metamatic Research Initiative, Amsterdam