Dr Julia Kelly

‘Eileen Agar’s Found Sculptures’, Henry Moore Institute, Leeds, June 2015

‘Hubert Dalwood’s legacies’, public conversation with Kathy Dalwood, University of Leeds, November 2016

‘Michael Lyons’ machine sculptures’, in Michael Lyons: Freeze Frame, Sidney and Audrey Burton Gallery, University of Leeds, 2016

Respondent for Homeless Sculpture Study Day, Whitworth Art Gallery, Manchester, October 2016

William Tucker With essays by Julia Kelly, Dieter Schwarz and William Tucker ISBN 978-3-90664-74-3

‘Introduction’, in William Tucker: Unearthing the Figure, printed to coincide with the exhibition: William Tucker: Unearthing the Figure (15th October - 29th November 2014).

Fostering a cross-pollination between the digital and the physical, Nick Ervinck (°1981, Belgium) explores the boundaries between various media. As a pioneer in 3D-printed sculptures the artist takes a vanguard position in the field of digital technology while at the same time his works hold numerous references to the tradition of sculpture and architecture. This first monograph focuses on this tension between innovation and tradition and gives an inside to the artist’s abundant archive. The concepts body, building, history and nature that are crucial for the artist’s oeuvre, are the leitmotifs in the book. The authors explore Ervinck’s work from different angles while a great quantity of images show the genesis of form, some of his most successful works and futuristic ideas that till this day were impossible to create. Contributors: Christophe de Jaeger, Julia Kelly, Neil Spiller

Talking sculpture: histories of contemporary art – histories in contemporary art, conference paper for Sculpture Today, Polish Sculpture Centre, Orońsko, November 2016

‘Sculpture and Chance’, conference paper for Peripheral Alternatives to Rodin in Modern European Sculpture, University of Malta, Valletta, December 2015

‘Eduardo Chillida’s Maritime Imagination’, conference paper for Form-Material-Space: Chillida and his Contemporaries, Goethe University, Frankfurt, July 2015

Association of Art Historians Annual Conference (organising committee), Loughborough University, April 2017

This chapter focuses on the significance of African Art for Michael Pennie, examining his writings on art and also his extensive journals of travels in West Africa and analyses of the art of the Lobi. It also considers his writings and ethnographic-style photographic documentation in the light of his own sculpture.

Der hundertste Geburtstag von Egon Altdorf hat seinen Sohn veranlasst das Gesamtwerk seines Vaters von einem Expertenteam aufarbeiten zu lassen und es in einen internationalen Zusammenhang einzuordnen.

Expansive in its breadth, William Turnbull: International Modern Artist will stand as the authoritative book on this fascinating artist.

This essay examines for the first time in detail Henry Moore’s activities as a trustee of the Tate and National Galleries from the 1940s to the 1970s, charting the institutional dynamics of this period in British cultural life and the ways in which Moore and other artists interacted with these. By focusing on this aspect of the artist’s life away from the production of work, it provides an alternative and original contextual reading of his career and artistic identity. The essay was based on primary source research in the archives of the Tate and National Gallery, including correspondences, notes by writers on Moore’s work, press cuttings, and an extensive study of committee minutes of trustee meetings over several decades, an unusual and original source in the field of art history. This research relates to wider investigations into Moore’s work and career over the last 20 years, including the broader context of British and European modern sculpture. I have recently given related papers at conferences on modern sculpture at the University of Malta, 2015, and the Polish Sculpture Centre, Orońsko, 2016, and on the relationship between the work of Moore and Hans Arp at Turner Contemporary in Margate, 2017, and forthcoming at the Beyeler Foundation in Basel, 2019. I contributed entries to the exhibition catalogue for the Tate’s Giacometti show in 2017. This essay is freely accessible as part of one of the Tate’s online research publications, the UK’s leading collection of modern art. The research project was conceived alongside a redisplay of Moore’s work in the collection, and this essay is linked to digitised online archival material relating to Moore and his work.

‘Colonial and counter-colonial display in surrealism’, symposium paper for Anatomising the Museum: Contemporary Art and the Decolonisation of Museums, Valand Academy, Gothenburg, November 2016

‘Decolonising artists’ non-western collections’, research seminar for the Art History and Visual Culture group, Loughborough University, March 2017

‘Arp, Sculpture and Surrealism’, paper for symposium Arp: Influence and Exchange, Turner Contemporary, Margate, November 2017

Introduction: Sculpture and the Sea, special issue of The Sculpture Journal, 24:2, 2015, pp. 135-139.

‘The Ethnographic Turn’, in David Hopkins (ed.), A Companion to Dada and Surrealism, Oxford: Wiley Blackwell, 2016. This excellent overview of new research on Dada and Surrealism blends expert synthesis of the latest scholarship with completely new research, offering historical coverage as well as in–depth discussion of thematic areas ranging from criminality to gender. This book provides an excellent overview of new research on Dada and Surrealism from some of the finest established and up–and–coming scholars in the field

Monuments, memory and the maritime: Michael Sandle interviewed. The Sources & Documents section has three elements: a translation of a little-known article, a reproduction of drawings from a museum archive and an interview with a living sculptor. The translation considers the work and career of the Canadian sculptor François Baillairgé (1759–1830), who worked as an architect and wood carver, but also produced decorative schemes for ships during a period of increasing production in Canadian ship-building. The article was originally published in French in the Paris-based maritime history journal Neptunia in 1984, by Jean Belisle, now Emeritus Professor of Art History at Concordia University, Montreal. It examines Baillairgé’s designs for two specific ships, the Royal Edward and the Earl of Moira, arguing that the sculptor’s iconographic schemes reflect the political concerns of the period, in particular the relationship between British North America (the Canadian colonies) and their newly independent American neighbours. The second part comprises two rare watercolour designs by Baillairgé for the Royal Edward, reproduced in black and white in the original source, but here shown in colour, taken from the collection of the National Museum of Fine Arts in Quebec. The third section is an interview with the sculptor Michael Sandle (b. 1936), focusing on his use of maritime imagery and his memorials on maritime themes. The interview includes discussions of Sandle’s interest in the iconography of submarines, rafts and sea burial, and his commissions for memorials including his Malta Siege Memorial (1989–93), his project for the headquarters of the International Maritime Organization in London (2001) and his memorial to lifeboatmen in Douglas (2002). It also includes the sculptor’s recollections of his childhood on the Isle of Man, and his recent interest in memorializing the tragedies of migrants crossing the Mediterranean. Print ISSN: 1366-2724 Online ISSN: 1756-9923

Translation of ‘François Baillairgé: A Sculptor of Figureheads, by Jean Belisle, The Sculpture Journal, 24:2, 2015, pp. 268-79. The Sources & Documents section has three elements: a translation of a little-known article, a reproduction of drawings from a museum archive and an interview with a living sculptor. The translation considers the work and career of the Canadian sculptor François Baillairgé (1759–1830), who worked as an architect and wood carver, but also produced decorative schemes for ships during a period of increasing production in Canadian ship-building. The article was originally published in French in the Paris-based maritime history journal Neptunia in 1984, by Jean Belisle, now Emeritus Professor of Art History at Concordia University, Montreal. It examines Baillairgé’s designs for two specific ships, the Royal Edward and the Earl of Moira, arguing that the sculptor’s iconographic schemes reflect the political concerns of the period, in particular the relationship between British North America (the Canadian colonies) and their newly independent American neighbours. The second part comprises two rare watercolour designs by Baillairgé for the Royal Edward, reproduced in black and white in the original source, but here shown in colour, taken from the collection of the National Museum of Fine Arts in Quebec. The third section is an interview with the sculptor Michael Sandle (b. 1936), focusing on his use of maritime imagery and his memorials on maritime themes. The interview includes discussions of Sandle’s interest in the iconography of submarines, rafts and sea burial, and his commissions for memorials including his Malta Siege Memorial (1989–93), his project for the headquarters of the International Maritime Organization in London (2001) and his memorial to lifeboatmen in Douglas (2002). It also includes the sculptor’s recollections of his childhood on the Isle of Man, and his recent interest in memorializing the tragedies of migrants crossing the Mediterranean. Print ISSN: 1366-2724 Online ISSN: 1756-9923

This thesis examines three bodies of work produced in 2019: Feeling the Underside, an artist’s book; Mollusc Series, a series of etchings; and Coiled in a Single Plane, Skimmed and Separated, an installation. The catalyst for these works was an encounter with a xenophora carrier snail shell at the Leeds Discovery Centre archive. Xenophora are marine gastropods known for their collecting behaviour, they gather shells, stones, fragments of coral and other detritus from the sea floor and attach this material to the outside of its own shell. They become museums of the sea floor, specific to their locality. This thesis considers the process of making the three works and the subsequent evolution of a xenophoric research methodology, that shadows the xenophora’s habits as a creative process. The methodology is contextualised by the theories of Donna Haraway (tentacular thinking), Anna Lowenhaupt Tsing (ecological assemblages) and Jane Bennett (vibrant materials). A main contribution of this thesis is the proposed xenophoric research methodology, which uniquely combines thinking with the xenophora with material knowledge and tactility, to produce sculpture and print. New materialism and material culture studies inform much the work discussed and the proposed xenophoric research methodology. The three works discussed throughout, bridge the divide between print and sculpture and combine research into conchology, sculpture production and the mutability of print. These bodies of work are discussed in relation to key works by Marcel Duchamp, Mark Dion and the practices of artists Helen Chadwick, Alice Channer and Carol Bove alongside others. Throughout this thesis is a focus on material processes and how they overlap with equivalent processes found in geology, nature and the activities of non-human lifeforms. This PhD by practice is the result of a collaboration with Yorkshire Sculpture International (YSI), a new festival of visual art in Yorkshire focusing on contemporary sculpture. The first iteration of the festival (22 June to 29 September 2019) was held across four partner galleries: Henry Moore Institute, Leeds Art Gallery, The Hepworth Wakefield, Yorkshire Sculpture Park, and in the public realm between Leeds and Wakefield. This research developed while being embedded in the team delivering Yorkshire Sculpture International 2019 and supporting the delivery of public programming and public sculpture commissions by international artists.

Talking Sculpture: Histories of Contemporary Sculpture - Histories in Contemporary Sculpture, in Eulalia Domanowska and Marta Smolińska (eds), Rzeźba Dzisiaj/Sculpture Today, Orońsko: Polish Sculpture Centre, 2016. An international meeting of critics and art historians has resulted in a post-conference publication edited by Eulalia Domanowska and Marta Smolińska entitled 'Sculpture today'. The reviewers are Maria Hussakowska and Katarzyna Chrudzimska-Uhera. Among the authors of the texts were: Julia Kelly, Martin Henatsch, Paweł Polit, Anna Maria Lesniewska, Wojciech Szymański, Agnieszka Tarasiuk, Marta Smolińska. Tony Cragg, Grzegorz Klaman and Krzysztof M. Bednarski spoke about their work. Publisher in Polish and English language version.

‘Absolute’, Absurd’, ‘Existentialism’, ‘Leiris, Michel’, in Lena Fristch and Frances Morris (ed), Giacometti, London: Tate, 2017, pp. 19-20, pp. 48-50, p.58. Alberto Giacometti is one of the few artists of the last century whose work is almost more recognisable than his name. His distinctive elongated figures are inescapably associated with the post-war climate of existentialist despair. However, the story of Giacometti's evolution, from his first professional works of art through his surrealist compositions, to the emergence of his mature style has rarely been explored fully and in depth. This comprehensive overview of Giacometti's career focuses on the art, the people and the events that influenced him, and on the original and experimental way in which he approached and developed his work. An illustrated glossary of texts on his life and work is accompanied by a plate section of strikingly beautiful illustrations of his sculptures, paintings and drawings as well as sketchbooks, decorative works and photographs from the Foundation Alberto et Annette Giacometti archive some of which have never been published before. Working in collaboration with the Fondation Alberto et Annette Giacometti, Tate has been given unparalleled access to the Foundation's extraordinary collection and archive. As well as spectacular colour plates and installation shots, the publication includes photographs, drawings, books and studio ephemera, much of which has never been seen in public. Addressing a unique space in the market for a high quality but accessible survey of Giacometti, this book is the definitive resource for fans of the artist, both new and existing.