Dr Maria Walsh

Senior Lecturer in Art History and Theory

Chelsea College of Arts

Biography

Dr. Maria Walsh is a 0.5 Senior Lecturer in Art History and Theory at Chelsea College of Arts. She is BA Fine Art Theory Co-ordinator and co-convener of the Subjectivity & Feminisms research group.

Maria studied Painting at the Crawford College of Art & Design in Cork, Ireland before moving to London to complete an MA in Art Theory at Chelsea, followed by an MA in Psychoanalytic Studies at Brunel University. Outtakes from her doctoral work on Tacita Dean, Chantal Akerman and nomadic subjectivity have been published in peer-reviewed journals including Screen, Angelaki: Journal of the Theoretical Humanities, and Rhizomes.

She has contributed chapters to a number of books on the topic of film spectatorship, affect, and embodiment, including Screen/Space: The Projected Image in Contemporary Art, MUP: 2011. Her monograph Art and Psychoanalysis will be published by I.B Tauris in 2012. She is a regular contributor to Art Monthly and is a member of the AHRC Peer Review College.

Research interests

Moving image practices, in particular artist's film & video work and its relation and resistance to cinematic genres and film theories.

Research statement

My research explores spectatorship and reception in moving image practices, in particular artist's film and video work and its relation and resistance to cinematic genres and film theories. I am interested in how new subjectivities might be generated in art/film works and in how narrative and technology might reconfigure body and psyche. My research is interdisciplinary incorporating affect theory, film theory, particularly post-Deleuzian approaches to film, and philosophy, especially feminist re-workings of phenomenology. I am also interested in performative modes of writing and authorial subjectivity.

I have also been collaborating with a colleague, Dr Mo Throp, with whom I co-convene the Subjectivity & Feminisms research group at Chelsea, to curate a series of exhibitions on current mutations of the feminine in art practice. More recently, I have been  co-curating the ongoing project the Subjectivity & Feminisms Performance Dinners, which have involved staff, students, and invited artists in collective research to exemplify the mutual embeddedness of theory and practice.

Students

Current students & thesis titles

Deniz AkchaTraces of Non-Muslim Female Identity in the Case Study Istiklal Avenue, and Its Representation in Fine Art Practice.

Panagiota (Penny) Georgiou, The animation of filmic space by Alfred Hitchcock through the mixture of architectural and scenographic components.

Kristiina Koskentola, "Interconnected In-Between: On the Dynamics of Abjections, Animism, Temporality and Location in Art Practice."

Stephanie Spindler, A Phenomenological Identity: the State of Being a Woman.

S. Cemre Yesil, The photographic embodiment of an embrace: the mother-child constellation as a paradigm to explore the nature of the photographic double-portrait and how it manifests both the physical and mental relationship between self and other.

Completed students & thesis titles

Catherine Maffioletti, Can the object ever truly reflect the body without merely being a representation, or producing a lack of body/self? Does the object only exist in the absence of the body/self? Or, can it speak the body/self via a different mirror?

Imogen Reid – Cinematic Writing: Thinking Between the Viewer and the Screen.

Selected research outputs