Scholarly biography and interests

Working in collaboration with David Cross, Matthew Cornford has gained national and international recognition as an artist. Together Cornford & Cross investigate art's ability to test concepts, boundaries and definitions in an open society. Their work engages with the spatial, social and historical contexts of specific sites, forming a critical interaction with the people and organizations that occupy them.

Cornford & Cross have carried out an Arts Council residency at the London School of Economics, and a British Council residency at Vitamin Creative Space in Guangzhou, China. In addition to a number of site-specific projects in England, their work has been exhibited in Bologna, Brugge, Pancevo (Serbia) Rome, and Stockholm; in the USA in San Fransisco, Philadelphia and New York; in London at Camden Arts Centre, the ICA, Photographers' Gallery and South London Gallery.

Cornford & Cross have recently completed a solo-touring exhibition and book that draws upon works produced over the last 15 years. The exhibition originated at Northern Gallery of Contemporary Art, Sunderland (2005-06), and travelled to Aspex Gallery, Portsmouth (2007), and the recently opened Exchange Gallery, Penzance (2007). As the culmination of this touring exhibition Black Dog London, have published a 192-page book Cornford & Cross (2009), which includes artists’ texts, photographs and critical essays by John Roberts and Rachel Withers. For more information on Cornford & Cross: www.cornfordandcross.com.

Cornford’s concern with context and post-studio practice has led him to research the art practices of a number of artists associated with Land Art. Since 2002, He has visited and photographing a number of major land art works in North America and Europe. These include Agnes Denes’s Tree Mountain, Robert Smithson’s Spiral Jetty and Broken Jetty/Spiral Hill; Michael Heizer’s Double Negative; Walter de Maria’a Lightning Field; Nancy Holt’s Sun Tunnels and Up and Under; Robert Morris’s Observatory and Constantin Brâncusi’s Endless Column. 

Matthew Cornford met met David Cross whilst studying at St Martin’s School of Art, London in 1986. After graduating they each completed an MA at the Royal College of Art. Since then they have created a body of work that responds to the problems that arise out of particular contexts or situations. Accordingly, each of their projects has been radically different, not only in form but in content.

His teaching experience encompasses the development and delivery of both undergraduate and postgraduate programmes, in addition to PhD supervision. He has experience in successfully bidding for external funding (AHRC, ACE), managing Fine Art research staff, and he participated in the 1996, 2001 and 2008 Research Assessment Exercise (RAE). He was awarded a professorship from the University of Wolverhampton in 2006, and joined the University of Brighton as Professor of Fine Art in April 2009.

Matthew Cornford has given numerous talks and lectures about his work, in galleries and educational institutions across the country including the Arnolfini, V&A, Whitechapel, Bartlett School of Architecture and The Royal College of Art.  He has been an external examiner to undergraduate and postgraduate courses at Central St Martins College of Art & Design, Leeds College of Art & Design and the Byam Shaw School of Art, London. 

 

Featured works and projects

Turf from Ulster laid on the courtyard at the Commandery Museum, Worcester

It Happened Here

Exploring the historical trauma of the English Civil War and its relation to cultural memory and contemporary politics

Photo of visitors at the White Bear Effect installation

The White Bear Effect

Exploring the effects of modern technology on visual culture and the human psyche

Photo of the coal installed at Wolverhampton Gallery with visitors

The Lion and the Unicorn

A site-specific installation about the limits of art, ecology and consumer culture

Research activity 

Repository holdings 

Number of items: 8.

Cornford, Matthew (2016) Old School: The Case for Specialism in Art Education In: Blamey, D., ed. Specialism. Open Editions, London, pp. 21-35. ISBN 9780949004017

Cornford, Matthew and Diab, Susan (2014) The student placement scheme: teaching and learning post-studio practice Journal of Visual Art Practice, 13 (1). pp. 41-49. ISSN 1470-2029

Beck, John and Cornford, Matthew (2014) The Art School and the Culture Shed The Centre for Useless Splendour, Kingston University, Kingston upon Thames. ISBN 9781908811097

Cornford, Matthew and Cross, David (2012) The white bear effect: the effects of modern technology on visual culture and the human psyche [Exhibition]

Beck, J. and Cornford, Matthew (2012) The art school in ruins Journal of Visual Culture, 11 (1). pp. 58-83. ISSN 1470-4129

Cornford, Matthew and Cross, D. (2010) It Happened Here [Exhibition]

Cornford, Matthew and Cross, David (2008) The once and future king [Exhibition]

Cornford, Matthew and Cross, David (2008) The Lion and the Unicorn [Exhibition]

This list was generated on Wed Aug 17 22:00:00 2016 BST.

Selected exhibitions and projects by Cornford & Cross  

2013

  • The White Bear Effect: the effects of modern technology on visual culture and the human psyche, LED screen showing Olympic highlights, 5 x 4 metres. Solo exhibition, The White Building, London. 8 – 14 September
  • The Ends of Art. ‘Praxis’ Parian marble cut to the size of one ream of A4 paper, 297 x 210 x 66 mm. Curated by Euripides Altintzoglou. Group exhibition, Beton7 Center for the Arts, Athens, Greece, 5 – 26 July

2012

  • The white bear effect: the effects of modern technology on visual culture and the human psyche, LED screen showing Olympic highlights, 4 x 3 metres, De La Warr Pavilion, Bexhill, East Sussex

2010

  • 'Bedizzended' Why Read the Classics? (2005) Giclée print on aluminium. Exhibition included, Othello Desouza Hartley, Rebecca Fortnum, Jessica Voorsanger. Curated by Jenny Dawes, et al. APT Gallery, London 8 - 18 July
  • 'It Happened Here' Formal English garden replaced with turf from Ulster, Meadow Arts commission, The Commandery, Worcester, Opened 14 May
  • 'The Sleep of Reason,' Scaffolding tripod, 24-carat gold leaf, Meadow Arts commission, The Commandery, Worcester, Opened 14 May

2009

  • Atlas… Separated by Intervals. ‘The Man Who Sold the World’; two Georgian pennies hidden in the crypt. Curated by Emma Somerset Davis and Mark Metcalfe. The Crypt, St Pancras new church, London 14 April – 20 April. Catalogue.

2008

  • ‘The Lion and the Unicorn’. Maximum safe load of coal laid on gallery floor. Curated by Kate Pryor. Wolverhampton Art Gallery, England 8 November – 31 January
  • Give Me Shelter. ‘The Once and Future King’; steel security wire over buried well. Attingham Park, Shropshire, England. Exhibition included Henry Krokatsis, Ivan and Heather Morrison and Keith Wilson. Curated by Anne de Charmant. Meadow Arts, Ludlow, England 27 September – 27 September

2007

  • ‘The Abolition of Work’. Artists’ fee and budget in one-penny coins laid on gallery floor. Curated by James Green. Exchange Gallery, Penzance, England 29 September – 18 November
  • T/raum(a)’68 . ‘Unrealized Projects’; photographs, texts on paper. Exhibition included Marcel Broodthaers, Andre Cadere and Erwin Wurm. Curated by Michel Dewilde, Stef Van Bellingen. Cultuurcentrum, Brugge, Belgium 1 September – 7 October. Catalogue
  • ‘Trance Nation’. Helicopter and searchlight over summer Solstice gathering. Curated by Michael Stanley. Milton Keynes Gallery, Milton Keynes, England. Dawn to sunrise, 21 June
  • ‘Words are not Enough’. Temporary peace garden over abandoned nuclear bunker; public address by Paul Gough. Curated by Mark Willsher and Emily Druiff. Camberwell, London 16 – 24 June
  • ‘Where is the Work?’. Photographs, texts on paper. Curated by Sandra Ross. Pump House Gallery, Battersea Park, London 6 June – 5 August
  • Obliterated Landscape. ‘A Month in the Country’; stock photographs, whitewash, text on paper. Exhibition included Shezad Dawood, Saron Hughes and Nikolaj Larsen. Matthew Bown Gallery, London 26 April – 26 May
  • ‘Fire Down Below’. Geometry of gallery doorway outlined in red silk ribbon. Curated by Joanne Bushnell Aspex Gallery, Portsmouth, England 24 February – 22 April

2005

  • ‘Where is the Work?’. Photographs, texts on paper. Curated by Alistair Robinson. Northern Gallery for Contemporary Art, Sunderland, England 24 November – 21 January 2006
  • Tra Monti. ‘Why Read The Classics?’; film lamp, reflector on marble statue. Curated by Adrienne Drake, Athéna Panni, and Maria Rosaria Rinaldi. Tra Monti district, Rome, Italy 15 September – 2 October
  • There is Always an Alternative. ‘Christmas Card’; price sticker on gift card, text on paper. Exhibition included Alison Marchant, Hayley Newman, Giorgio Sadotti. Curated by Dave Beech and Mark Hutchinson. Temporary Contemporary Gallery, London 29 May – 10 July. Catalogue

2004

  • Longitude, Latitude, Season. ‘Childhood’s End’; Anarchy symbol drawn by fighter jet in the sky, shown as two-screen video installation. Exhibition included Mark Harris, Robert Moss and Guillem Ramos Poquí. Curated by Brendan O’Neil. Catalyst Arts, Belfast, Northern Ireland 17 September – 9 October
  • Out of Conflict. ‘Childhood’s End’; Anarchy symbol drawn by fighter jet in the sky, shown as two-screen video installation. Joint exhibition with Catherine Elwes. Curated by Mark Segal. ArtSway Gallery, Sway, England 8 May – 20 June. Catalogue
  • Perfectly Placed. ‘Where is the Work?’; cast iron floor grille, text on paper. Exhibition included Adam Chodzco, Goshka Macuga and Paula Roush. Curated by Donna Lynas. South London Gallery 6 – 29 August
  • Values: 11th International Biennial of Visual Arts. ‘How Buildings Learn’; doorway blocked by archive material. Civilization and its Discontents. Black flags flown from cultural buildings. Exhibition included Daniel Buren, Jeremy Deller and Mark Wallinger. Curated by Svetlana Mladenov and Igor Antic. Pancevo, Serbia and Montenegro 29 May – 10 July. Catalogue
  • Tonight. ‘The End of History’; text on paper. Exhibition included Adam Chodzco, Liam Gillick and Andrew Grassie. Curated by Paul O’Neill. Studio Voltaire, London 15 April – 30 May
  • Tales of the City. ‘Camelot’; photograph, text on paper. Exhibition included Nils Norman, Abigail Reynolds and Gary Stevens. Directed by Ann Gallagher. British Council, Artefiera Bologna, Italy 21 – 26 January. Catalogue

2003

  • A Period Eye. ‘A Month in the Country’; stock photographs, whitewash, text on paper. Exhibition with Richard Billingham and Sarah Jones. Curated by Richard Denyer. Norwich Castle Museum, England 29 September – 29 February 2004. Catalogue
  • Imaging London. ‘The End of Art Theory’; photographs, text on paper. Exhibition included Tim Brennan, Hadrian Piggott and Elizabeth Price. Curated by Ben Cranfield. Houldsworth Fine Art, London 17 July – 18 August
  • Civic Centre: reclaiming the right to performance. ‘Cosmopolitan’; USA marriage agency interviews with Russian women, CD players, headphones. Curated by Alan Read. Victoria & Albert Museum, London 15 April

2002

  • Strike. ‘Civilization and its Discontents’; Black flag flown from gallery roof. Exhibition included Fiona Banner, Martin Creed and Jeremy Millar. Curated by Gavin Wade and Liam Gillick. Wolverhampton Art Gallery, England 14 September – 9 November. Catalogue.

2001

  • Re: mote. ‘New Holland’, ‘Jerusalem’ and ‘Utopia’; Photographs, texts on paper. Exhibition included Alexander and Susan Maris, Dalziel and Scullion, and Erwin Wurm. Curated by Camilla Jackson. Photographers’ Gallery, London 30 November – 19 January 2002
  • Let’s Get to Work. ‘How Buildings Learn’; Gallery doorway blocked by art books including Keith Wilson, Atelier van Lieshout and Sarah Sze. Curated by Gavin Wade and Jonathan van Dyke. Philadelphia University of the Arts, Philadelphia USA 17 November – January 2002
  • Let’s Get to Work. ‘How Buildings Learn’; Gallery doorway blocked by art books. Exhibition included Kathrin Böhm, Atelier van Lieshout and Sarah Sze. Curated by Gavin Wade and Jonathan van Dyke. Susquehanna Art Museum, Harrisburg, USA 21 July – 20 October
  • What’s Wrong? ‘Unrealized Projects’; texts on paper. Exhibition included Bank, David Burrows and Mark Hosking. Curated by Dave Beech. The Trade Apartment, Brixton, London 5 October – 5 November
Publications

2014 

  • ‘The Art School and the Culture Shed’. This book grows out of a presentation given as part of the 2012 Stanley Picker Public Lectures on Art programme hosted by the School of Fine Art at Kingston University. The transcribed talk and images explore and contrast the demise of the local art school with the rise of the new contemporary gallery. Co-author John Beck. Small-press book, 48 pages. Published by The Centre for Useless Splendour, Kingston University, London. ISBN 978-1-908811-09-7

2013

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  • ‘Mobilizing Uncertainty’, chapter for book, co author David Cross. Published inOn Not Knowing; How Artists Think, edited by Elizabeth Fisher and Rebecca Fortnum. Paperback, 160 pages, published by Black Dog London. ISBN13: 978 1 908966 29 2. pp 32–41

2012 

  • Beck, J. and Cornford, Matthew The art school in ruinsJournal of Visual Culture, 11 (1). pp. 58-83. ISSN 1470-4129

2010

  • 'A Dialogue on Art School,' chapter for book Curating and the Educational Turn, Edited by Paul O'Neill and Mick Wilson, Published by De Appel Arts Centre, Amsterdam. pp. 262 - 270.

2009

  • Cornford & Cross. This book brings together for the first time a range of the encounters, actions and debates that make up our work, and includes texts, reference material, and photographs documenting the 33 different projects and art works. With essays by John Roberts and Rachel Withers. Hardback book, 192 pages. Published by Black Dog, London. ISBN13: 978 1 906155 69 8.

2008

  • ‘Takin’ it to the Streets’. The essay explores unofficial public realm projects, through the recent work of Mark McGowan, Can Altay and Sam Curtis and addresses the value of working independently and without official support. Series editor Sophie Hope
  • ‘Home Counties Surrealism: The forgotten art of Marcus Keef’. Article on the work of Marcus Keef, who produced some of the most evocative and influential British album cover art of the early 1970s. His best-known work was for Vertigo and Neon labels with a varied roster of folk and progressive acts, singer-songwriters and heavy metal bands. Co-Author John Beck, issue editor John L. Walters. Eye: The International Review of Graphic Design. No. 68, Vol. 17, Summer

2005

  • ‘Unrealised Projects: projects 1997 – 2002’. Chapter for book New Practices/New Pedagogies. Edited by Dr Malcolm Miles Taylor & Francis (Routledge) Lisse, Netherlands. pp. 53-61.

2004

  • ‘Inside Outside’. Written in the form of a dialogue between us, the article explores the methodology of transgressive site specificity that underpins our work. Third Text special issue on collaboration. Edited by John Roberts and Stephen Wright. Volume 18, issue 6, November, pp. 657-665.

2003

  • ‘Unrealised Projects: projects 1997 – 2002’. Texts and images. Mined. Edited by Golsorkhi and Laeufer. Tank Publications Ltd. pp. 49-55.

2002

  • ‘Where is the Work?’. Chapter for book Transmission: Speaking and Listening. Edited by Kivland and Sanderson. Published by Site Gallery and Sheffield Hallam University. pp. 48-56.

2001

  • ‘Coming up for air’. Prospectus for public monument. Making History series of art commissions curated by Terry Shave. Staffordshire University.

Citations and reviews

"Thomas Hirschhorn and Cornford & Cross, who in an explicit defilement of the public location of art as the democratic ‘home’ of art, produce a range of public installations that are emaciated, faded and entropic. In fact these remnant objects of Hirschhorn and Cornford & Cross, deliberately embrace the ambiguous threshold of the non-artistic sign in order to produce a flattened, positivized spectator."
(John Roberts ‘Art, Politics and the Topological Turn’, guest lecturer, Department of Visual Cultures, Goldsmiths, University of London, 3 October 2013)


"Cornford & Cross’ work pursues a strange, but necessary, paradox: they fight assiduously and tenaciously to create works that exist as ghostly things, deflationary gestures, faded after-effects, bathetic monuments, self-negligent objects, inert signs."
(John Roberts, ‘Fade Out’, Cornford & Cross, Black Dog Publishing, London, 2009, p.15)


"Cornford & Cross’ practice does not represent a vacillation between a progressive cultural politics and a retardataire investment in obsolete cultural forms, but embodies an acute sense of resistance to the ‘imposition of a false idea of unity and order on the representation of things."
(Rachel Withers, ‘Style and Character’, Cornford & Cross, Black Dog Publishing, London, 2009, p. 26)

 Selected articles and reviews on Cornford & Cross since 2001
  • Peter Seddon, 'It Happened Here: Turfing over Irish and English History', Journal of Visual Art Practice, volume 10, number 3, 2012, pp. 263-274
  • Michael Petry, The Art of Not Making: The New Artist / Artisan Relationship. Thames & Hudson, 2011, pp. 56, 186-187
  • Dave Beech, ‘Inside Out’. Art Monthly, No.329, September 2009, pp. 2–3
  • Dave Freak, ‘The Lion and the Unicorn’. What’s On, Birmingham, November 2008
  • Jane Rendell, ‘Refunctioning the Infrastructure’. Ingrid Ruudi editor, Gas Pipe Catalogue, 2008 Architecture Biennale, Venice, pp.18–21
  • Jane Rendell, ‘Space, Place and Site in Critical Spatial Practice’. Cameron Cartiere and Shelly Willis, editors, The Practice of Public Art Routledge, London, 2008
  • Sandra Rehme, ‘Obliterated Landscapes’. Time Out, 9-15 May 2007, p. 41
  • Jane Rendell, Art and Architecture: A Place Between. I.B.Tauris, London, 2006, pp. 44–45, 105–107
  • Malcolm Miles, ‘Interruptions: Testing the Rhetoric of Culturally Led Urban Development’. Urban Studies, vol. 42, nos 5/6, May 2005, p. 905
  • Malcolm Miles, Urban Avant-Gardes: Art, Architecture and Change. Routledge, London, 2004, pp. 166–69
  • Tom Lubbock, ‘Five Best Shows in London’. The Independent, 19 August 2004
  • Laura Chiari, ‘Artisti, attivisti!’. Next Exit, Rome, Italy, no. 19, June 2004
  • Rachel Withers, ‘Cornford & Cross’. Artforum, vol. XLI, no. 5 January 2003, pp. 149–150
  • Dave Beech, ‘Cornford & Cross’. Art Monthly, no. 262, December 2002, front cover and pp. 23–24
  • Mark Currah, ‘Cornford & Cross’. Time Out, 30 October – 6 November 2002, p. 57
  • Alicia Miller, ‘Trails of the unexpected’. Art Review, vol. LIII, October 2002, pp. 102–103
  • Robert Clark, ‘Childhood’s End’. The Guardian Guide, 19 October 2002, p. 35
  • Lisa Lefeuvre, ‘Heart of Glass’. Katalog, vol. 14 no. 1, 2002, pp. 48–49
  • Adrian Kear, ‘Parasites’. Parallax, vol. 7 no. 2, 2001, pp. 31–46
  • Henrik Schrat and Oliver Hartung, ‘The picture as index of lived experience’. 4.28, no. 1, 2001, pp. 9–12
Conferences, panel presentations & lectures (selected) 

2013

  • Panel discussion On Not Knowing, Associate Artists’ Weekend, Kettle’s Yard, Cambridge,19 October
  • Homogeneity or Diversity in Art Education?’ Teaching in Practice conference, The Higher Education Academy. Victoria and Albert Museum, London, 28 June
  • ‘Art School Attitude’ polemic presented at What’s the Point of Art School? Central Saint Martins College of Art and Design, University of the Arts London, 25 April
  • Cornford & Cross, ‘The White Bear Effect’, symposium, Embodied Cognition and Mental Simulation, The Annual Conference of the Cognition Institute, Plymouth University, 22 March

2010

  • Art Schools: Inventions, Invective and Radical Possibilities. Organised by UCL Art Collections, the Royal Collection and the University of Brighton in conjunction with Naomi Salaman, Excavating the British Art School, Co author Dr John Beck, Newcastle University, University College London, 12 June 
  • Utopics in Art and Architecture. Organised by Dr Robin Wilson and Dr Dan Smith, Excavating the British Art School, Co author Dr John Beck, Newcastle University, Chelsea College of Art and Design, London, 5 June
  • Being There: Making Art in Context, Inaugural Lecture, Sallis Benney Theatre, University of Brighton, Brighton, 22 April

2009

  • Art of Location Symposium, organised by Meadow Arts
  • ‘Social Places’ presentation on projects by Cornford & Cross, The Courtyard Arts Centre, Hereford, 6 November
  • Living Landscapes — AHRC Landscape & Enviroment. Conference Directors Professor Mike Pearson and Dr Heike Roms. ‘Past, Present and Future’ recent projects by Cornford & Cross. Aberystwyth University, Wales 19 June

2008

  • 'Spatial Politics: The Physical Dimensions of Curating'. Organized by Ben Cranfield. Presentation on ‘The Abolition of Work’. Institute of Contemporary Art, London 29 April
  • Initiative and Institution. Organised by Céline Condorelli and Andreas Lang. ‘Question Education’, presentation on education, studio space and art schools. Department of Architecture and Spatial Design, London Metropolitan University 8 March
  • Mapping as a Tool. Organised by Public Works. Presentation on art schools as research centres. Stanley Picker Gallery, Faculty of Art and Design, Kingston University, London 6 February
  • Manifesto of Possibilities. Organised by Cameron Cartiere, Birkbeck University of London. Presentation on risk. Wellcome Trust Conference Centre, London 31 January

2007

  • A setting in Search of a Celebratory End. Hosted by Paul O’Neill. Presentation on recent projects. Spike Island, Bristol, 23 November
  • Future Gallery. Organised by Public Works. Chaired debate on Public Works project with Siemens UK. Speakers: Kai Peters, Ashridge; Barbara Stevini, O+I; Kay Winsper, Siemens UK. Public Works studio, London, 2 November
  • Education and Location. Organised by Jan Altay. Presentation on the value and necessity of regional art schools. Spike Island, Bristol 8 September
  • Chris Evans Radical Loyalty. Organised by Anna Colin. Chaired debate on the work recent of Chris Evans. Studio Voltaire, London 8 June
  • Art Schools in Crisis? Models for the 21st Century. Presentations on the value and necessity of regional art schools. Speakers: Hans Ulrich Obrist, Irit Rogoff and Anton Vidolke. Hayward Gallery, London 10 March
  • The Rural Art Space. Organised by Kathrin Böhm and Adrian Plant. Presentation on projects which critically engage with the English landscape. The Music Hall, Shrewsbury 17 January

2003

  • Diffusion: Collaborative Practice in Contemporary Art. Organised by John Roberts, Stephen Wright and Dominic Willsdon. Presentation on ‘Childhood’s End’. Tate Modern, London 25 October
  • Interventions in the City. Symposium organised by Martin Gent. Presentation on projects which critically engage with architecture. Department of Architecture and Spatial Design, London Metropolitan University 4 April

2002   

  • Unrealised: Projects 1997-2000. Colloquium organised by Cornford & Cross. Chaired by Edgar Schmitz, papers presented by Lynda Morris and John Timberlake. Nylon Gallery, London 16 November.

2001

  • Working with Artists. Organised by Junction Arts Agency. Presentation on the arts commissioning process. Lighthouse Media Centre, Wolverhampton 24 November
  • East: Extra Curatorial Practices. Organised by Lynda Morris. Presentation on artists’ self-curation. Norwich School of Art 22 - 23 November

Public talks 

2013

  • Middlesex University, London; Kingston University, London

2012

  • ‘The Lost World of the Local Art School’ co author and presenter John Beck, Prospectus, Chelsea College of Art & Design, London
  • ‘The Art School verses the Culture Quarter’ co author and presenter John Beck, Stanley Picker Public Lecturer Series, Kingston University, London
  • ‘It Happened Here / Turfing Over History’ in conversation with Peter Seddon, Session Seven: ‘Art, Conflict and Memory: from Civil War to Cold War’, Social History Society 37th Annual Conference, University of Brighton
  • ‘Then and Now: Art, Image, Politics’, Art, Image, Politics, John Hansard Gallery, University of Southampton, Southampton
  • ‘Cornford & Cross Projects’, co author and presenter David Cross, Art by Commission? Institut für Kunst im Kontext, Universität der Künste, Berlin
  • ‘The Art School and the Culture Shed’ co author and presenter John Beck, The Corporate Occupation of the Arts, Occupy LSX / The Bank of Ideas, London

2011

  • ‘The Lost World of Provincial British Art Schools’, co author and presenter John Beck, Reflections on the Art School, Tate Britain, London
  • ‘The Art School in Ruins’, co author and presenter John Beck, Ruins Seminar, Newcastle University, Newcastle

2010

  • ‘Excavating the British Art School’co author and presenter John Beck,Art Schools: Inventions, Invective and Radical Possibilities, University College London, London
  • ‘Excavating the British Art School’, co author John Beck, Utopics in Art and Architecture, Chelsea College of Art and Design, London
  • ‘Being There: Making Art in Context’, Inaugural Lecture, Sallis Benney Theatre, University of Brighton, Brighton 

2009

  • ‘Projects by Cornford & Cross’, presentation co author and presenter David Cross, Social Places, The Courtyard Arts Centre, Hereford

  • ‘Past, Present and Future’ projects by Cornford & Cross, co author David Cross, Living Landscapes: Landscape & Environment, Aberystwyth University, Wales

2008

  • ‘The Abolition of Work’, co author and presenter David Cross, Spatial Politics: The Physical Dimensions of Curating, Institute of Contemporary Art, London
  • ‘Art Schools & Art Education’, presentation, Question Education, Initiative & Institution Department of Architecture and Spatial Design, London, Metropolitan University
  • ‘Art Schools as Research Centres’,presentation, Mapping as a Tool, Stanley Picker Gallery, Faculty of Art and Design, Kingston University, Greater London
  • ‘Risk’, co author and presenter David Cross, Manifesto of Possibilities, Wellcome Trust Conference Centre, London
Grants and awards

Grants and awards towards the production of new work since 2001

2008: Awarded grant from Wolverhampton Art Gallery, for new site-specific installation

2008: Awarded grant from Meadow Gallery/Arts Council England, for new site-specific work, at Attingham Park, Shropshire

2004-2005: Originated, developed and wrote bid to Arts Council England for touring exhibition Co-authors David Cross and Alistair Robinson, NGCA.

2004: Originated, developed and wrote bid to British Council for artists residency in China; Co-author David Cross.

2000-2001: Developed and wrote bid to Arts Council England for film production budget; Co-author David Cross and Steven Bode, Film and Video Umbrella.

Juries, committees and editorial boards

External examining

2009-present: MA Fine Art, Byam Shaw School of Art, London.

2006-2009: BA(Hons) Art and Design Interdisciplinary, Leeds College of Art, Leeds.

2001-2005: BA (Hons) Graphic Design, Central St Martins College of Art and Design, London.

         
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