Contact

Office: 2.31, 9 Woodland Road

Phone: +44 (0)117 954 6043

Email: d.price@bristol.ac.uk

Twitter: @DorothyRowe18

Consultation Hours

I am an art historian with particular research interests in sexuality, race, gender, women artists, photography, modernism, contemporary art, transnationalism and globalisation. Outside the University I also regularly collaborate on research, teaching and curating with museums and galleries.

I am research lead for the Transnational Modernisms Research Cluster, a Faculty wide research group that regularly hosts conferences, workshops, events and seminars on a variety of related topics, including the major international conference Framing the Critical Decade: After the Black Arts Movement, generously supported by BIRTHA and the Alumni Foundation. I am also General Series Editor for the cluster’s associated Peter Lang book series Transnational Cultures. In spring 2015 I was a visiting fellow at the Pratt Institute, New York. I am also founder member and inaugural Director of the Centre for Black Humanities, an interdisciplinary Faculty research centre established in 2017 and dedicated to researching the histories, art and thought of people of African descent.

I am Editor of Art History, a world-leading journal published by Wiley Blackwell for the Association of Art Historians.

I am currently working on several exhibition projects with external partners. In May 2018 I co-curated, with Chantal Joffe and Michael Simpson, a major exhibition of Chantal's work in dialogue with Paula Modersohn-Becker, Personal Feeling is the Main Thing at The Lowry, Salford. I am also co-curating several other exhibitions including In Plain Sight: Art in Britain since 1945 and Women, Collage and Pop with Sue Tate, both for the Royal West of England Academy, Bristol.

Recent impact from my research on gender and German modernism is evidenced by the award of a contract with Leicestershire City Council and Museums to co-produce a series of expert reports on the German Expressionist holdings of New Walk Museum and Art Gallery. You can watch a film about that research here.

I am a member of the Academic and Exhibitions Advisory Board of the Royal West of England Academy, a Trustee of Spike Island, a Fellow of the Royal Society of Arts, a member of the AHRC Peer Review College and a reviewer for the American Academy in Berlin. I have held research grants from the Leverhulme Trust, the British Academy, a collaborative doctoral award from the AHRC for a doctoral student to conduct research in collaboration with the National Portrait Gallery, London and most recently a Tate British Art network award for 'Black British Art.'

I am currently working on several new publications including two new monographs, New Women, New Vision: Icons of Modernity in Weimar Germany for Reaktion Books and Käthe Kollwitz Between Symbolism and Expressionism, as well as several edited collections including German Expressionism: Der Blaue Reiter and its Legacies (Manchester University Press), Framing the Critical Decade: After the Black Arts Movement, Weimar's Others: Art History and Visual Culture in Germany after 1918 (Special Issue of Art History, April 2018) and with Sonia Boyce MBE Black Artists and Modernism: Three Moments (Special Issue of Art History 2020). I have also published numerous articles in the fields of Black, Asian and Diasporic art in Britain, German Expressionism and Weimar culture.

Research

My most recently published, Leverhulme-funded monograph After Dada: Marta Hegemann and the Cologne Avant-Garde (Manchester University Press 2013) was recipient of a College Art Association of America Millard Meiss publication award. It offers an original analysis of avant-garde modernism in Germany after 1918 arguing, against the grain, that its success was dependent on both its regional centres and its forgotten networks of women artists, critics and patrons. My first monograph Representing Berlin: Sexuality and the City in Imperial and Weimar Germany (Ashgate 2003), sought to account for the gendered representational shift from topography to allegory in images of Berlin from Fischerdorf (fishing village) to wicked Metropolis. I investigated the processes by which women and femininity played a prominent role in depictions of the city and how and why the city became demonised as a gendered site of alienation and anxiety after the First World War.

My most recently co-edited collection (with Marsha Meskimmon) Women, the Arts and Globalization: Eccentric Experience (Manchester University Press, 2013) was the first anthology to specifically explore the relationships between transnational feminism and women's art practices across a range of contemporary media. The essays discuss the connections between aesthetics, gender and identity in a global world.  They demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travellers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange.

Teaching

I teach at all levels of the degree, from our first year unit Approaching The Object, to the supervision of PhD students. My teaching includes units on The Artist, Modern Women Artists, German Expressionism, Weimar Women: Representing Modernity and Curating Collections.

Research supervision

I am currently supervising doctoral work on Käthe Kollwitz; theatrical portraiture (with the NPG) and the relationship between ekphrasis and performance art. I welcome proposals from students working on twentieth century German art and aspects of contemporary black and diasporic art in Britain, particularly relating to areas including: gender, sexuality and race in modern and contemporary visual art; transnationalism and globalization; German expressionism, Weimar culture and exile; Black Germany, modern women artists and photographers and black British art.

Please don't hesitate to get in touch if you would like to discuss your doctoral research plans.