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Dr Bridget Crone

Staff details

PositionLecturer in Visual Cultures
Department Visual Cultures
Email b.crone (@gold.ac.uk)
Phone+44 (0)20 7919 7496
Dr Bridget Crone

Dr Bridget Crone is a curator and writer working at the intersection of political philosophy, media theory, contemporary performance and moving image practices. Her work explores questions of ‘liveness’ and the image. Current projects explore the technologies of the image, and the convergences of the body and image in relation to political philosophy as well as art practice. Since 2011, Bridget has been working in regional Australia on a series of projects exploring the changing ecologies of image, body and land (Spectral Ecologies, 2015-7), the idea of spectral sites (The Cinemas Project, 2011-4) involving research, commissioning and production of new work by artists working with film and performance practice.

Bridget has held numerous curatorial posts and guest curatorships including: Media Art Bath (Director, 2006-11), The Showroom, London (Curator, 2003-6); The Melbourne International Biennial; the Ian Potter Museum, Melbourne; Institute of Contemporary Arts, London; Arnolfini, Bristol; Holburne Museum, Bath; Flat Time House, London.

Bridget is currently working on a new and expanded edition of her edited volume The Sensible Stage: Staging and the Moving Image (Intellect / University of Chicago Press, Spring 2017), and a monograph titled Swamps and Stages.

Academic qualifications

Phd in Visual Cultures, Goldsmiths, University of London (2013)

MA Curating, Goldsmiths, University of London (2001)

BA Hons (First Class Honours), The University of Melbourne (1997)

BA Fine Art, The University of Melbourne (1994)

Teaching

Currently, Bridget teaches the third year BA modules ‘Curating and the Curatorial’, and ‘Curatorial Events and Affects’. She co-teaches on the first year module ‘Seeing and Showing’ as well as the core course for the Graduate Diploma in Contemporary Art History.

Prior to her post at Goldsmiths, Bridget taught at Chelsea College of Art and Design, University of the Arts London (Lecturer, MA Critical Writing and Curatorial Practice 2007-10) and the University of Essex School of Philosophy and Art History (Lecturer, Centre for Curatorial Studies at the University of Essex School of Philosophy and Art History, 2012-4), John Cass School of Art (2012), University of Kent (2011).

Bridget was External Examiner for Taught Postgraduate Awards, University of Essex School of Philosophy and Art History from 2009-12.

Featured projects

2014 The Cinemas Project: Exploring the Spectral Spaces of Cinema, Bendigo Art Gallery, Latrobe Regional Arts Centre, Mildura Arts Centre, Geelong Gallery, Warrnambool Art Gallery: Brook Andrew, Mikala Dwyer, Bianca Hester, Lily Hibberd, Tom Nicholson.

2014-2009 The Film Exercise: Exercising Ideas Around Artists Film and Video, Arnolfini, Bristol

2012 What Can The Image Do?, Arnolfini, Bristol: Ed Atkins, Adam Broomberg and Oliver Chanarin, Joana Hadjithomas and Khalil Joreige, Uriel Orlow, Gail Pickering

2012 EYE MUSIC FOR DANCING, Flat Time House, London: Anna Barham, Julika Gittner and Heather Phillipson with work by Bob Cobbing

2012 The Sensible Stage, ICA, London: Gail Pickering (new commission), Cara Tolmie, Annabel Frearson, Jimmy Robert

Featured publications

2017 The Sensible Stage: Staging and the Moving Image (ed), Intellect Books and Chicago University Press

2015 “Liquid States and the Image” in Technologism, Monash University Museum of Art

2014 “Swarm machines, Ladders and Lookouts” in Fitch/ Trecartin, Zabludovicz Collection

2013 “Curating, Dramatization and the Diagram”, in The Curatorial: Philosophy as Curating, Bloomsbury

2010 ‘Disaffect in the theatre of representation’, Journal of Visual Art Practice

PUBLICATIONS

Books and Book Chapters

2017 The Sensible Stage: Staging and the Moving Image (ed), Intellect Books and Chicago University Press

2015 “Liquid States and the Image” in Technologism, Monash University Museum of Art

2014 “Swarm machines, Ladders and Lookouts” in Fitch/ Trecartin, Zabludovicz Collection

2013 “Curating, Dramatization and the Diagram”, in The Curatorial: Philosophy as Curating, Bloomsbury

2013 “Costume Party - Scripts, Frames and Stages” in Fassbinder-JETZT. Film und Videokunst, Deutsches Filmmuseum, Frankfurt

2012 The Sensible Stage: Staging and the Moving Image (ed), Picture This / Cornerhouse Books

2007 The Showroom Annual 2005/6 (ed), The Showroom

2006 The Showroom Annual 2004/5 (ed), The Showroom

2005 The Showroom Annual 2003/4 (ed), The Showroom

2005 The body. The ruin. (ed) Ian Potter Museum of Art, The University of Melbourne

Academic Journals

2012 ‘The effects of the image in recent film and video art’, Moving Image Review and Art Journal, Vol. 1 No. 1

2010 ‘Disaffect in the theatre of representation’, Journal of Visual Art Practice

2009 Performing the Local in a Suburban Garage’, SUM Magazine for Contemporary Art, The Royal Danish Academy of Fine Art / Revolver Publishing

2008 ‘Tom Nicholson – lines towards…’, Eyeline, Queensland University of Technology, October 2008

2003 ‘Performancemania: Hayley Newman’, Eyeline, Queensland University of Technology, April/May 2003

CATALOGUE ESSAYS

2015 “Undercurrents” in Polly Stanton: Undercurrents, Melbourne Art Rooms

2014 “A text in three parts to be spoken live to an audience, down a phone line, from an

2013 “Talking Squid” in Anna Barham: Not Quite Tonight Jellylike, Arcade Gallery

2013 “Seeing Red” in Amanda Beech: Final Machine, Urbanomic

2013 “Summer Blend” in TRUE SELF: DAVID ROSETZKY SELECTED WORKS, Centre for Contemporary

Photography, Melbourne

2013 “Jess MacNeil, 16mm” in NEW 13, Australian Centre for Contemporary Art

2012 “Eye Music For Dancing”, Flat Time House, London

2011 “The most familiar objects could at any time behave in the most unexpected ways” in Ben Cain: Space, Time, Effort, Gallery Vela, London

2007 ‘Artist-culture and the spirit of capitalism: a postscript – some thoughts on critique and the aesthetics of affect’, The Showroom Annual 2005/6, The Showroom

PUBLIC TALKS, CONFERENCES AND SEMINARS

2015 The Sensible Stage, Diagrams Symposium, GradCAM, Dublin Institute of Technology

2015 Swamps and Stages: Affective Immersion and Strategic Discontinuity in the Films of Ryan Trecartin and Manuel De Landa, Conference: Sensing Time and Matter in Digital and Visual Culture, University of Greenwich

2015 The Image: Action, Contagion, Affect, Bluecoat Arts Centre, Liverpool

2014 Curating the Moving Image: convenor of three-day symposium Arnolfini, Bristol

2014 Curating Image-Bodies, Swamps and Stages, Material Conjectures Symposium, Beaconsfield, London

2013 Dispersion across the surface, keynote lecture University of Reading symposium on research topologies

2012 Image-machine (performance lecture), Coventry School of Art and Design symposium with Amanda Beech and Robin McKay

2011 The Image - Imploded Action, Contagion, Affect, The Photographers Gallery, London

2011 A Delirium of Delirious Images, two-part keynote lecture, Monash University

2011 Disaffective theatres: structure and the “theatrical” in recent contemporary art practice, paper presented at This is not a lecture or a performance, Radar: Loughborough University

2010 Anti Humanist Curating Symposium, The Whitechapel Gallery, London (Paper: Disaffect in the theatre of representation)

Research Interests

I am interested in the intersections of time-based practices (performance, moving image) with digital networks, questions of embodiment and the real. I work through a curatorial practice that includes writing and an interest in continental philosophy especially the work of Gilles Deleuze, Alain Badiou as well as aspects of speculative realism and new materialism.

Publications

Edited Book

The Sensible Stage: Staging and the Moving Image
Crone, Bridget, ed. 2012. The Sensible Stage: Staging and the Moving Image. Picture This with Bridget Crone / Plenty Projects. ISBN 978-0-9554961-2-7

The Showroom Annual 2005/6
Crone, Bridget and Ogg, Kirsty, eds. 2007. The Showroom Annual 2005/6. The Showroom.

8 artists try not to talk about art
Crone, Bridget, ed. 2006. 8 artists try not to talk about art. Space Studios. ISBN 0-9554060-0-5

The Showroom Annual 2004/5
Crone, Bridget and Ogg, Kirsty, eds. 2006. The Showroom Annual 2004/5. The Showroom.

The Showroom Annual 2003/4
Crone, Bridget, ed. 2005. The Showroom Annual 2003/4. The Showroom.

The body. The ruin
Crone, Bridget, ed. 2005. The body. The ruin. Ian Potter Museum of Art, University of Melbourne.

Book Section

Curating, Dramatization and the Diagram
Crone, Bridget. 2013. Curating, Dramatization and the Diagram. In: Jean-Paul Martinon, ed. The Curatorial: A Philosophy of Curating. Bloomsbury. ISBN 9781472525604

Costume Party – Script, Frame and Stages
Crone, Bridget. 2013. Costume Party – Script, Frame and Stages. In: , ed. Fassbinder-JETZT. Film und Videokunst. Deutsches Filminstitut. ISBN 978-3887990831

Article

Abstract Image in Future Film and Video Art
Danino, Nina; Joseph-Lester, Jasper; Petresin, Vesna; Laurent, Robert; Crone, Bridget and Zoller, Maxa. 2012. Abstract Image in Future Film and Video Art. Moving Image Review & Art Journal (MIRAJ), 1(2), pp. 79-88. ISSN 2045-6298

The Image: Disaffect in the theatre of representation
Crone, Bridget. 2010. The Image: Disaffect in the theatre of representation. Journal of Visual Arts Practice, 9(2), pp. 123-198. ISSN 1470-2029

Performing the Local in a Suburban Garage’
Crone, Bridget. 2009. Performing the Local in a Suburban Garage’. SUM Magazine for Contemporary Art, ISSN 1902-8970

Tom Nicholson’s Lines Towards Another Century
Crone, Bridget. 2009. Tom Nicholson’s Lines Towards Another Century. Eyeline, 68,

Performancemaniac:The Work of Hayley Newman
Crone, Bridget. 2003. Performancemaniac:The Work of Hayley Newman. Eyeline, 51,

Thesis

The Sensible Stage : An encounter with bodies, images and other sensate materials
Crone, Bridget. 2013. The Sensible Stage : An encounter with bodies, images and other sensate materials. Doctoral thesis, Goldsmiths, University of London