Dr Bridget Crone

Staff details

Position Senior Lecturer 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

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 effect’, 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 Disaffected 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

Crone, Bridget, ed. 2017. The Sensible Stage:Staging and the Moving Image. Bristol UK: Intellect Books. ISBN 978-1-78320-769-5

, ed. 2014. The Cinemas Project: Exploring the Spectral Spaces of Cinema. Melbourne, Australia: National Exhibitions Touring Support (Victoria). ISBN 9780980297706

Crone, Bridget and Ogg, Kirsty, eds. 2007. The Showroom Annual 2005/6. The Showroom. ISBN 0954236254

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

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

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

Book Section

Crone, Bridget and Gunkel, Henriette. 2019. "Future" in The Bloomsbury Handbook of 21st Century Feminist Theory. In: Robin Truth Goodman, ed. The Bloomsbury Handbook of 21st Century Feminist Theory. London, UK: Bloomsbury Academic. ISBN 9781350032408

Gunkel, Henriette and Crone, Bridget. 2019. Future. In: Robin Goddman, ed. The Bloomsbury Handbook of 21st-Century Feminist Theory. Bloomsbury. ISBN 9781350032408

Crone, Bridget. 2018. Time and Entanglement in Comparative Monument (Shellal). In: A Barikin and H Hughes, eds. Tom Nicholson: Lines towards Another. Berlin: Sternberg Press, pp. 131-136. ISBN 978-3-95679-397-4

Crone, Bridget. 2018. Wounds of Unbecoming: an introduction to the work of Tai Shani. In: , ed. Our Fatal Magic. Cambridge, MA: Strange Attractor / The MIT Press.

Crone, Bridget. 2017. Notes Towards a Sensible Stage. In: Bridget Crone, ed. The Sensible Stage: Staging and the Moving Image. University of Chicago Press / Intellect Books. ISBN 978-1783207695

Crone, Bridget. 2017. Flicker Time and Fabulation. In: G Gunkel; A Hameed and S O'Sullivan, eds. Futures and Fictions. London, UK: Repeater Books, pp. 268-294. ISBN 9781910924631

Crone, Bridget. 2017. Image and the Appearance of the Image: Fear, Speed, Force. In: Evi D. Sampanikou, ed. Audio Visual Posthumanism. UK: Cambridge Scholars Press, pp. 337-342. ISBN 978-1-4438-8177-7

Crone, Bridget. 2016. Opera as Method in the Work of Grace Schwindt. In: Agar Ledo, ed. Grace Schwindt: Run a Home, Build a Town, Lead a Revolution. An Exhibition in Three Acts. Vigo, Spain: Foundation MARCO / Goethe Institute, Madrid, pp. 148-161. ISBN 978-84-943529-1-2

Crone, Bridget. 2015. Liquid States and the Image. In: Charlotte Day, ed. Technologism. Melbourne, Australia: Monash University Museum of Art, pp. 79-87. ISBN 978-0-9923754-7-8

Crone, Bridget. 2013. Talking Squid. In: , ed. Not Tonight (Jellylike). London: Arcade.

Crone, Bridget. 2013. Seeing Red. In: Robin Mackay, ed. Final Machine. Falmouth, UK: Urbanomic, pp. 15-20. ISBN 9780957529502

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

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

Crone, Bridget. 2013. Swarm Machines Ladders and Lookouts (the work of Ryan Trecartin and Lizzie Fitch). In: Paul Luckcraft; Maitreyi Maheshwari and Isabel Venero, eds. Lizzie Fitch / Ryan Trecartin: Priority Innfield. London, UK: Zabludowicz Collection, pp. 119-124. ISBN 978-1-907921-16-2

Crone, Bridget. 2005. The Ruined Body. In: Bridget Crone and Bala Starr, eds. The Body The Ruin. Melbourne, Australia: Ian Potter Museum of Art, University of Melbourne, pp. 9-25. ISBN 0 7340 3585 3

Article

Crone, Bridget. 2017. Comparative Monument (Shellal): Steadfastness and the Temporal Body. di'van: a journal of accounts, 1(2), pp. 54-80. ISSN 2207-1563

Crone, Bridget. 2014. Book Review: Pascal Gielen, Instituting Art in a Flat World. Journal of Curatorial Studies, 3(2-3), ISSN 2045-5836

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

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

Crone, Bridget. 2009. Tom Nicholson’s Lines Towards Another Century. Eyeline, 68, ISSN 0818-8734

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

Crone, Bridget. 2003. Performancemaniac:The Work of Hayley Newman. Eyeline, 51, ISSN 0818-8734

Exhibition Catalogue

Crone, Bridget. 2017. Propositions for a stage: 24 frames of a beautiful heaven.

Crone, Bridget. 2017. Spectral Ecologies.

Crone, Bridget. 2005. The body. The ruin.

Professional Activity

Crone, Bridget. External Examiner for MA Curating Programmes, University of Essex.

Show/Exhibition

Crone, Bridget. 2017. Propositions for a stage: 24 frames of a beautiful heaven. In: "Propositions for a stage: 24 frames of a beautiful heaven", Institute for Contemporary Arts, Singapore, 29 July to 22 October 2017.

Crone, Bridget. 2017. Spectral Ecologies. In: "Spectral Ecologies", Mildura Arts Centre, Australia, 6 April to 18 June 2017.

Crone, Bridget. 2014. The Cinemas Project: Exploring the Spectral Spaces of Cinema in Regional Victoria. In: "The Cinemas Project", Bendigo Art Gallery, Australia, 12 April to 9 July 2014.

Thesis

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