Dr Kit Messham-Muir

Curriculum Vitae

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A selected abridged version of my CV is below. 

Professional info
 

I was born in Wrexham, North Wales, and emmigrated to Australia in 1990 to study Painting at Sydney College of the Arts, The University of Sydney. I graduated with a Bachelor of Visual Arts, Honours Class 1 in 1994.
I am currently lead investigator on ‘Art in Conflict’, a three-year Australian Research Council funded linkage project in partnership with the Australian War Memorial and the National Trust (NSW), and in collaboration with the University of Melbourne, the University of New South Wales and the University of Manchester.  ‘Art in Conflict’ receives a Linkage Project grant from the Australian Research Council of $293,380 over 2018-2021. 
 
I publish extensively in scholarly and popular press.  My research focuses on the visual culture of war and conflict, including the role of affect in interpretation in museums and galleries, and issues of art and war. My book Double War: Shaun Gladwell, Visual Culture and the Wars in Afghanistan and Iraq was published by Thames & Hudson in 2015.  It discusses the video and photographic work of Shaun Gladwell, as an Official War Artist in Afghanistan, and discusses the broader visual culture of contemporary war.  I am a regular contributor to the international magazine, The Conversation, and I direct the StudioCrasher video project. 
 
I gained my PhD in Art History and Theory from the University of New South Wales in Sydney in 2000. My thesis was titled Toward an Understanding of Affect: Transgression, Abjection and Their Limits in Contemporary Art in the 1990s, and examined the role of affect and emotion in political debates surrounding the National Endowment for the Arts funding “obscene and indecent art”, following the 1989 Andre Serrano and Robert Mapplethorpe controversies.
I also have an outstanding record in research supervision, successfully completing
9 PhD and 4 Masters candidates since 2009.

Contacts

Assoc Prof Kit Messham-Muir
School of Media, Creative Arts and Social Inquiry
Curtin University
GPO Box U1987
Perth WA 6845
Australia
kit.messham-muir@curtin.edu.au
Tel: +61 8 9266 2354

Teaching Awards

2018 Faculty of Humanities Excellence in Teaching Award in the category: Individual Teacher 
Curtin University

2011 ALTC Citation for Outstanding Contributions to Student Learning
Australian Learning and Teaching Council



2010 Vice-Chancellor's Citation for Outstanding Contributions to Student Learning
The University of Newcastle

2009 Vice-Chancellor’s Award for Teaching Excellence and Learning Support
The University of Newcastle

Education

PhD (2000) 
School of Art History and Theory, University of New South Wales (UNSW Art & Design)
Thesis title: Toward an Understanding of Affect: Transgression, Abjection and Their Limits in Contemporary Art in the 1990s


Graduate Certificate in the Practice of Tertiary Teaching (2009)
Centre for Teaching & Learning, The University of Newcastle

Bachelor of Visual Arts, Honours Class 1 (1994)
Sydney College of the Arts, The University of Sydney
Work Experience
 
2016 – present
Associate Professor in Art
School of Media, Creative Arts and Social Inquiry, Curtin University
 
2008 – 2016
Senior Lecturer in Art History
(2012-2016)
Program Convenor, Bachelor of Fine Art (2012-2013)
Lecturer in Art History (2008-2011)

School of Creative Arts, The University of Newcastle
 
2005 – 2007 
Program Manager, Western Sydney Arts Strategy and
Assistant Program Manager, Museums, Visual Arts and Crafts and Capital Infrastructure, Arts NSW, New South Wales State Government

Lecturer (sessional) in Museum Studies
The University of Sydney

2002 – 2005
Lecturer in Museum Studies
The University of Sydney/Hong Kong University

2001
Lecturer in Art History
(equivalent of US Assistant Professor)
School of Humanities, University of Western Sydney

1997 – 2000 Tutor/Lecturer (sessional)
School of Art History & Theory, College of Fine Arts, University of New South Wales

1993 – 1995
Editorial Assistant, Art & Text
international art theory journal, University of New South Wales

1993
Editor, Honi Soit
The University of Sydney

Teaching
 

  • 22 years of university teaching experience
  • Over 100 semester-long courses coordinated and taught
  • National award-winning curriculum design
  • Design and implementation of a new multidisciplinary Bachelor of Fine Art degree
  • Published peer-reviewed scholarship on teaching and learning
  • Student feedback overall ratings 2008-2016: Course 4.48 out of 5.00; Teaching 4.80 out of 5:00
Undergraduate Courses Taught
 
• Introduction to the History of Art and Design: 1900-present (1st year art theory coordinator/lecturer)
• Currencies 1: New York and Los Angeles (overseas study tour and course, coordinator/lecturer/tutor)
• Critical Studies 1: 1800-1955 (1st year art theory coordinator/lecturer)
• Critical Studies 2: 1955-2013 (1st year art theory coordinator/lecturer)
• Writing and Art Theory (coordinator/lecturer/tutor)
• Visual Arts Theory (coordinator)
• Contemporary Art Issues (lecturer)
• The Arts in Health and Community (coordinator/lecturer/tutor)
• Postmodernism and After (coordinator/lecturer/tutor)
• Australian Art History (coordinator)
• Art Theory: Modernism (coordinator/lecturer/tutor)
• Museology and Professional Practice (lecturer/tutor)
• Art of Modern Life: 1850 – 1900, (coordinator/lecturer)
• History and Theory of the Avant Garde (coordinator/lecturer),
• Modernism, Modernity & Modern Art 2 (co-coordinator)
• Pornography, Art and Politics (coordinator/lecturer)
• Art after 1990 (tutor)
• A History of Drawing (coordinator/lecturer)
• Theories of the Image (tutor)
• Mapping the Modern (tutor)
• Mapping the Postmodern (tutor)

Postgraduate Courses Taught

• Introduction to the History of Art and Design: 1900-present (Masters of Applied Design and Art theory course, coordinator/lecturer)
• Postgraduate Internship Program (coordinator)
• Artefact Studies (coordinator/lecturer)
• Information and Collection Management (coordinator/lecturer)
• The Museum Context (coordinator/lecturer)
• Hong Kong – Postgraduate Internship Program (coordinator)
• The Museum and Cultural Heritage (coordinator/lecturer)

Publications
 

Books
 
Double War: Shaun Gladwell, visual culture and the wars in Afghanistan and Iraq, Port Melbourne: Thames & Hudson (2015)
 
Beyond Region: Public Galleries in New South Wales, ed. Kit Messham-Muir, Sydney: Arts NSW & Australia Council (2007)
 
Book Chapters
 
‘Conflict and Compromise: Australia’s Official War Artists and the “War on Terror”’, The Palgrave Handbook of Artistic and Cultural Responses to War – Volume 1: Australasia, the British Isles, and the United States.  Edited by Martin Kerby.  Melbourne: Palgrave Macmillan, 2019: 467-483. [582 pages]
‘Double Looking: The Political Sublime in Shaun Gladwell’s Behind Point-of-View Series’, Perception and Agency in Shared Spaces of Contemporary Art. Edited by Cristina Albu and Dawna Schuld.  Oxford: Routledge (2017): 95-106 [252 pages]
‘The Silent Centaur: Shaun Gladwell’s 1,000 Horses’, 1,000 Horses, Tel Aviv:  Tel Aviv Museum of Art, 2017: 23-30 (Hebrew); 108-116 (English) [134 pages]
 
'Three questions not to ask about art - and four to ask instead', A Year in the Life of Australia, Edited Paul Dalgarno, Sydney: Future Leaders (2014), 276-280
 
Invention at the Social Scale (Social Configurations): Melting into the Texture of Everyday Life, in Ecologies of Invention, eds. Buckley, Conomos & Dong, Sydney: Sydney University Press (2013): 70-77
 
Double Looking: Shaun Gladwell in Afghanistan', in Point-of-View - Afghanistan: Shaun Gladwell, eds. Robert Nichols and Emma Crimmings, Canberra: The Australian War Memorial, (2013): 8-15
 
‘Beneath the Pavement’, in Back to the City: Strategies for Informal Urban Interventions. Ostfildern: Hatje Cantz Verlag, (2009): 120-123
 
Scholarly Journal Articles

‘The BADFAITH machine: The Phantom Point-of-View in Virtual Reality’. Artlink: Contemporary Art of Australia & Asia Pacific (December 2018): 12-19

‘Conflict, Complicity and Ben Quilty’s After Afghanistan portraits’. Australian and New Zealand Journal of Art 18:1 (2018): 71-89

‘It’s not that I’m afraid to die…’, Art Monthly 304 (Summer 2017/18), 2017: 64-67
‘Dani Marti: New York, Sydney, Cessnock’, Artlink: Contemporary Art of Australia & Asia Pacific, 36:3, September 2016: 72-75
‘Into Darkness: Affect and Darkness in Museums of the Holocaust’, Journal of Curatorial Studies 4:3, (2015): 434-457
 
‘Impossible Empathy: The Non-Documentary War Art of Shaun Gladwell’, On Journal: On Objects, Issue 1, Number 1, September 2014. URL: http://onjournal.org/paper/125
 
‘History’s Actors in the Theatre of War: Images, Myths and the Frame in the War on Terror’. antithesis 22, (2012): 143-155
 
‘From Tinkering to Meddling: Notes on engaging first year art theory students’.  Journal of University Teaching and Learning Practice, 9:2 (2012)

‘Affect, Interpretation and Technology.’ Open Museum Journal. 7 (2005)

‘Dark Visitations: The Possibilities and Problems of Experience and Memory in Holocaust Museums.’ Australian & New Zealand Journal of Art: Art and Ethics. 4:2, 5:1 (2004): 97-111

‘Here We Are! National Museums of Postcolonial Australasia in a Post-Nation-State World’, World Literature Written in English: A Journal in Postcolonial and Commonwealth Writing 39:2 (2003): 71-83

‘Reconciling the Local and the Global in the Art of Adam Cullen.’ Australian Studies. 17:1 (2002): 45 – 64
 
Exhibition Catalogue Texts
 
'Adam Cullen: Grunge and Rage', Newcastle: Cooks Hill Galleries, 2017
‘What is Studio Practice?’, 2017 SoDA Research Celebration Exhibition, Perth: Curtin University, 2017
‘Shifting Thresholds: Charting and Changing What Divides Us’, SPAN, Fremantle Art Centre, Fremantle, 2017
‘Who are you, and what are you doing here?: Intersubjectivity and the Phantom Subjective Image in Shaun Gladwell’s War Art Works’, Traces of War, London: Kings College London (2016): 47-53
‘Introduction by Kit Messham-Muir’, James Kearns and Nick Osmond, Cooks Hill Galleries, Newcastle NSW, 2016: 1
‘Trauma and the Political Sublime in Claudia Parducci's The Space Between Us, Claudia Parducci: The Space Between Us, Los Angeles: Ochi Projects, 2016
 
‘Shaun Gladwell’ (five texts), Shaun Gladwell – The Lacrima Chair, Sydney: Sherman Contemporary Art Foundation, (2015): 22-23, 36-37, 82-83, 118-119, 144-145
 
'Art Excludes the Unnecesssary', Carl Andre: Steel Σ 16, Newcastle Art Gallery, 2014
 
'Three Artists, Six Lives', A Trio of Trespassers, Maitland: Maitland Art Gallery, 2014
 
‘Riding with Death Redux: The Artist as an Allegory of Death’, Shaun Gladwell: Riding with Death Redux, Sydney: Anna Schwartz Gallery, 2011

‘Hybrid Memories’, Victoria Lobregat and Susan Ryman, 29 July – 25 August 2009, University Gallery, University of Newcastle, 2009

‘Radically Affirmative: Match Box Projects 19 - 29 March 2009’. Match Box Projects, Newtown: At the Vanishing Point, 2009
‘Affect and the Archive’, Art and the Archive, Newcastle: Arts Health Research Centre and The Lockup, 2008
‘Equilibrium: Shaun Gladwell’s Double Voyage, 2006.’ Melbourne: Anna Schwartz Gallery, 2008

‘VIBGYOR: Victor Gordon’s art from 1977 to 2003.’ Vanitas.  Broken Hill: Broken Hill City Gallery, 2003
‘Sex Differential’, mothertrucker. Campbelltown: Campbelltown City Bicentennial Gallery, 2001
‘Practices of the City and the Kickflipping Flaneur’ Shaun Gladwell: Kickflipping Flaneur. Sydney: Artspace, 2000
 
‘No Gold For Gargantua.’ The Liminal Body. Sydney Australian Centre for Photography, 2000
‘The Politics of Culture versus the politics of culture.’ S___Hot, Sydney: Artspace, 1999

'Victoria Lobregat'. Victoria Lobregat. Sydney: Pendulum, 1996
 
‘Critical Dys-course.’ Critical Spaces. Sydney: Artspace, 1995
 
‘Modus Operandi: Aesthetics and Practice.’ Modus Operandi. Sydney: Allen St. Gallery, 1993: 2
Articles and Critical Reviews (Selected)
 
‘It’s not that I’m afraid to die…’, Art Monthly 304 (Summer 2017/2018), 2017: 64-67
 
‘Taking a VR trip in Shaun Gladwell’s floating planetoid skull’, The Conversation, 18 January 2017
‘Sydney: Matthys Gerber, Museum of Contemporary Art Australia’, Artforum, January 2016: 266-267
 
‘The Walking Dead: why that final point-of-view shot tells us nothing’, The Conversation, 6 April 2016
 
‘Art and terror: a new kind of memorial’, The Conversation, 23 March 2016
 
‘What 2015 Looked Like in Visual Art’, The Conversation, 14 December 2015
 
‘Here’s Looking At: Blue Poles by Jackson Pollock’, The Conversation, 10 December 2015
 
‘Painting a new path in life – Art’s redemptive power has great appeal’, Newcastle Herald, 31 October 2015: 19
 
'Vivid Sydney: contemporary art -- or just a bright night out?', The Conversation, 22 May 2014
 
‘Review: ‘I Am Still Alive’: On Kawara at the Guggenheim, New York’, NY Arts magazine, 28 March 2015)
 
‘Review: ‘I Am Still Alive’: On Kawara at the Guggenheim, New York’, The Conversation,10 March 2015
 
‘Shaun Gladwell is returning to Sydney, and may not shed tears’, The Conversation, 4 March 2015
 
‘‘You start with the image’: Marlene Dumas at the Tate Modern’, The Conversation, 19 February, 2015
 
‘Review: Activating space, a little – Sarah Sze in London’, The Conversation, 10 February, 2015
 
‘Why is Ben Quilty supporting two convicted drug smugglers?’, The Conversation, 29 January, 2015
 
‘Three simple steps to understand art: look, see, think’, The Conversation, 21 October 2014
 
‘It's too hard to love Primavera 2014 at Sydney's MCA’, The Conversation, 20 October 2014
 
'A Manifesta without a manifesto: contemporary art in St Petersburg', The Conversation, 14 October 2014
 
'Wim Delvoye’s astonishing art shows what’s lurking in the banal', The Conversation, 3 October 2014
 
'Review: The Life and Death of Adam Cullen by Erik Jensen', The Conversation, 15 September 2014
 
'Three questions not to ask about art - and four to ask instead', The Conversation, 22 August 2014

 

'Two artists go to war - Shaun Gladwell and Ben Quilty', The Conversation, 1 August 2014

 

'Jeff Koons - a spectacle on the way to respectable', The Conversation, 25 July 2014

 

'Ben Quilty at the Saatchi Gallery - Things Just Got Interesting', The Conversation, 9 July 2014

 
‘TOUCH: The Portraiture of Dani Marti’, Art & Australia 49.3 (2012): 504
‘In the MIME-Network’, Broadsheet 40.2 (2011), 123-125

‘Book review: South Pacific Museums.’ Museums Australia Magazine (2007)
‘Tony Clark at Roslyn Oxley9.’ Eyeline 51 (2003): 60
 
‘Practices of the City.’ Kerb: Journal of Landscape Architecture. Sydney: University of NSW (2001): 6 – 11
 
‘David Griggs and Shaun Gladwell.’ Eyeline 46 (2001)
 
‘Franz Ehmann: Open Panorama & Soapbox, Installation Practices & Artists.’ Globe Online Arts Magazine (2000)
 
‘Dale Frank: Social Realism.’ Eyeline 31 (1996): 31-32
 
‘Review: Mishka Borowski.’ Art + Text 49 (1994): 75
 
‘Adam Cullen: Soft Material Facts.’ Eyeline 25 (1994): 42
 
‘Fresh Art Review.’ Eyeline 25 (1994): 50
‘Mishka Borowski at Pendulum.’ Eyeline 24 (1994): 43-44
 
Government Reports

Messham-Muir, Kit, & White, Peter, Art NSW's Submission to the Senate Inquiry into the Indigenous Visual Arts and Craft Sector, Arts NSW, November 2006
Grants and Awards
 

2018-2021 $293,380 ARC Linkage Project, Lead Investigator: Art in Conflict: Transforming contemporary art at Australian War Memorial, partnering with the Australian War Memorial and the National Trust of NSW, with academic team A/Prof Kit Messham-Muir (lead CI, Curtin), Prof Charles Green (University of Melbourne), Dr Uros Cvoro (UNSW) and Prof Ana Carden-Coyne (University of Manchester). Overall project budget of $1,226,506

2018 $2,500 Small Grants Program (Round 1, 2018), Curtin University

2017 $4,102 Small Grants Program (Round 2, 2017), Curtin University

2017 $5,000 Small Grants Program (Round 1, 2017), Curtin University

2017 $3,893 Small Grants Program (Round 2, 2016), Curtin University 

2016 $2,000 Conference Travel Grant 2016, Curtin University 

2015 $3,342 Linkage Pilot Research Grant, University of Newcastle

2015 $5,700+ 6 month sabbatical, Special Studies Program, Faculty of 
Education and Arts, University of Newcastle

2014 $11,500 Study Overseas Short-term Mobility Program, Department of Education and Training, Australian Government

2013 $3,500JRE Funding Grant, School of Creative Arts, University of Newcastle

2012 $3,000JRE Funding Grant, School of Drama Fine Art and Music, University of Newcastle

2012 $200,000 Project Team Member: Swimming With Seahorses: Team Tech, Higher Education Participation and Partnerships Program, Department of Education, Employment and Workplace Relations, Australian Government

2011 $3,000 Seed Funding Grant, School of Drama Fine Art and Music, University of Newcastle

2011 $10,000  Citation for Outstanding Contributions to Student Learning, Australian Learning & Teaching Council

2011 $6,700+ 6 month sabbatical, Special Studies Program, Faculty of Education and Arts, University of Newcastle

2010 $3,500 Research Support Grant, Humanities Research Institute, The University of Newcastle, 2010

2010 $1,500 Vice Chancellor’s Citation for Excellence in Teaching and Learning Development, University of Newcastle, 2010

2009 $2,000 Vice Chancellor’s Award for Excellence in Teaching and Learning Development, University of Newcastle, 2009

2008 $7,746 New Staff Research Grant, DFAM, The University of Newcastle, 2008

2004 $5,000 Start-Up Research Grant, Faculty of Arts, The University of Sydney

2003 $4,043 Strategic Development Funds Grant, SOPHI, University of Sydney, 

$1,100 Overseas Conference Travel Grant, CHASS, University of Sydney

$1,084 Strategic Development Funds Grant, SOPHI, University of Sydney, 

1996 – 2000 $45,000 3-year stipend + 100% fees scholarship, Australian Postgraduate Research Award, University of NSW

Administration
 

Executive Roles

 

  • Director of Research and Creative Production, School of Design and Art, Curtin University, 2017

  • Member, Management Committee, School of Design and Art, Curtin University, 2017

  • Co-Chair, Research and Graduate Studies Committee, School of Design and Art, Curtin University, 2017

  • Program Convenor, Bachelor of Fine Art, School of Creative Arts, University of Newcastle, 2012 – 2013

  • Coordinator of Technologised Learning, School of Creative Arts, University of Newcastle, 2014 – 2016

  • Member, Executive Committee, School of Creative Arts, University of Newcastle, 2012 – 2013

 

Academic Committees 

 

  • Member, University Research and Development Committee, University, 2018-present

  • Member, Faculty Research and Graduate Studies Committee, Faculty of Humanities, Curtin University, 2016-present

  • Member, Learning and Teaching Committee, School of Design and Art, Curtin University, 2016-2017

  • Member, School of Creative Arts Advisory Group, School of Creative Arts, University of Newcastle, 2014 - 2016

  • Member, Teaching and Learning Committee, School of Creative Arts, University of Newcastle, 2009 – 2016

  • School of Creative Arts Representative, Faculty Board, Faculty of Education and Arts, University of Newcastle, 2012 – 2015

  • Chair, External Advisory Committee, School of Humanities and Creative Arts, Avondale College, 2010, 2014

  • External Advisory Committee, School of Humanities and Creative Arts, Avondale College, 2015

Conference Coordination

 

  • Art and Its Directions: AAANZ 2017 Annual Conference, Organising Committee, Art Association of Australia and New Zealand, Perth, Western Australia, 6-8 December 2017

  • 2017 Staff Research Symposium, Convenor and organiser of one day symposium, School of Design and Art, Curtin University, Perth, 30 June 2017

  • Museums Australia National Conference, Organising Committee, Newcastle, Australia, 2008-2009

  • ArtHealth Research Centre Conference, Organising Committee and art practice subcommittee, Newcastle, Australia, 2009

  • ArtHealth Research Centre Conference, Organising Committee and art practice subcommittee, Newcastle, Australia, 2008

  • Uncover 2004, reviewed submissions, officiated at national graduate conference, Australian Museum, Sydney, Australia, 24 September 2004

  • Uncover 2003, Session Chair at one day national graduate conference, The University of Sydney, Sydney, Australia, 10 October 2003

  • Conducting bodies: Affect, Sensation and Memory, Steering Committee, AAANZ/AGNSW, Sydney, Australia, 20-22 July 2001

  • Sensational 2001: Images, Bodies + Beyond, convenor and organiser of one day national graduate conference, University of Western Sydney, Australia, 14 December 2001

  • Sensational2: Images, Bodies & New Trajectories, convenor and organiser of one day national graduate conference, UNSW, 24 November 2000

  • Sensational: Images and Bodies, convenor and organiser of one day national graduate conference, UNSW, 12 November 1999

© 2019  Dr Kit Messham-Muir

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