Dr Bridget Crone is a curator and writer. Focussing on the body in material and speculative terms, her work explores questions of “liveness” and the image in relation to performance theory / practice, and the changing relations of body, technology and ecology.
Bridget has held numerous curatorial posts and curatorships in the UK and internationally since the late 1990s, including: Media Art Bath (Director, 2006-11), The Showroom, London (2003-6); the Ian Potter Museum, Melbourne; Institute of Contemporary Arts, London; Arnolfini, Bristol; Flat Time House, London among others.
Bridget’s edited book, The Sensible Stage: Staging and the Moving Image (2017) examines the interrelationship of the live body and projected image in contemporary art practice. She writes regularly for artists and recently published an extended introduction (addressing questions of gender and trans materiality) to Turner Prize nominee Tai Shani’s collected writings.
- Phd in Visual Cultures, Goldsmiths, The University of London
- MA Curating, Goldsmiths, The University of London
- BA Hons Fine Art (First Class), The University of Melbourne
Teaching and Supervision
- Graduate Diploma Contemporary Art History, Programme Leader
- Phd / MPhil Programme in Curatorial Knowledge / Advanced Practices (co-convenor)
- BA (3rd Year), Curating and the Curatorial VC53103A (Convenor)
- BA (3rd Year), Curatorial Events and Affects VC53089A (Convenor)
- MA Artist Film and Moving Image (Department of Art), I teach a block of courses on ideas and practices of liquidity in artists’ film practice.
- Phd supervision: Kate Pickering (2016–) Murat Adash (2018–) Teresa Calonje (2015–) Caroline Campbell (2015-) Georgia Perkins & Francesca Lazzarini (2
For a number of years my research and teaching have centred around ideas related to the body and image in various different ways. My book, The Sensible Stage: Staging and the Moving Image (2012 / republished 2017) was related to an ongoing research and curatorial project that involved performance programmes and artists’ commissions in London (Whitechapel Gallery and ICA, London), Bristol (Arnolfini) and Bath (Holburne Museum and other sites). The Sensible Stage book explores the relation between live performance (the body) and the projected image and includes contributions from Alain Badiou and Elie During, Ian White, Lucy Reynolds and others. My own contribution (an extended essay) proposes that the architecture of the moving image itself produces and projects its own stage in which the audience and image are entangled. This work has been further extended into my 3rd year teaching in which we explore ideas of the body and the stage (event, affect and participation) and look at the way that practices of dramaturgy and choreography might offer new ways of considering the body and new methodologies for the curatorial.
I am currently working on two book projects, one rethinks the body through notions of porosity, leakage and liquidity in contemporary art practice and beyond; the other (in collaboration with two artists) addresses practices of “alien” fieldwork – forms of fieldwork engaged with sensing the world “otherwise” – what I term, practices of planetarity. In the Department of Art, I teach a block of seminar on ideas and practices of liquidity in artists’ film practice on the MA Artist Film and Moving Image, which closely relates to these developing ideas, and I have had a long-standing interest and involvement in artist film and video / moving image practice through the curating and convening of Film Exercise – a monthly screening and discussing programme that took place at Arnolfini, Bristol (2009-14).
Publications and research outputs
Crone, Bridget; Nightingale, Sam and Stanton, Polly, eds. 2022. Fieldwork for Future Ecologies: Radical practice for art and art-based research. Eindoven: Onamtapee.
, ed. 2014. The Cinemas Project: Exploring the Spectral Spaces of Cinema. Melbourne, Australia: National Exhibitions Touring Support (Victoria). ISBN 9780980297706
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, pp. 481-490. ISBN 9781350032408
Crone, Bridget. 2019. Wounds of Unbecoming: an introduction to the work of Tai Shani. In: , ed. Our Fatal Magic. Cambridge, MA: Strange Attractor / The MIT Press, pp. 7-23. ISBN 9781907222818
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. 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. 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. 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), pp. 407-409. 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. 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. 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.
Crone, Bridget. 2013. The Sensible Stage : An encounter with bodies, images and other sensate materials. Doctoral thesis, Goldsmiths, University of London
Further profile content
The Sensible Stage:Staging and the Moving Image
The Sensible Stage:Staging and the Moving Image (ed). Bristol UK: Intellect Books.
Wounds of Unbecoming
Book Section. Introduction to Tai Shani's book, Our Fatal Magic. Cambridge, MA: Strange Attractor / The MIT Press.
Flicker Time and Fabulation
Book Section. In: G Gunkel; A Hameed and S O'Sullivan, eds. Futures and Fictions. London, UK: Repeater Books, pp. 268-294.
Co-authored with Henriette Gunkel. In: Robin Truth Goodman, ed. The Bloomsbury Handbook of 21st Century Feminist Theory. London, UK: Bloomsbury Academic.
Liquid States and the Image
Book Section. In: Charlotte Day, ed. Technologism. Melbourne, Australia: Monash University Museum of Art, pp. 79-87.
I am excited to be working with Professor Irit Rogoff, Dr Adnan Madani and Dr Ramon Amaro on the Curatorial Knowledge Phd programme and establishing a new version of that programme, Phd / MPhil in Advanced Practices. In addition, I am a member of the COST European Forum for Advanced Practices.
In addition, I supervise Phd projects in both Visual Cultures and the Department of Art. Current supervisees and their projects: –
• Georgia Perkins, Climate Futures and the Time of the Swarm (2019–)
• Francesca Lazzarini, Images as Operations: Radical Practices in the Age of Neurocapitalism (2019-)
• Caroline Campbell, The interaction between humans and robot-embodied ‘AI’ in a changing theatre of war: a study of the intertwining roles of affect and obfuscation (2015–)
• Kate Pickering, Weird Waters: Dis/Orientation and Belief in the Megachurch Body (2016–)
• Murat Adash, Edges of the Body: Camouflage and the Performative Dimensions of Morpholoy (2018–)
• Teresa Calonje, Appropriating the Gesture: Live Art for Sale (2015–)
In 2018, I established an international exchange with the California Institute for the Arts (Calarts).