Louisa Minkin
Title
Reader- Senior Lecturer in Fine Art / Research into Teaching Coordinator
College
Central Saint Martins
Email address
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Researcher Research
Biography
Louisa Minkin is an artist based in London.She is Principal Investigator for the AHRC Networking Project Concepts Have Teeth. This project and its sister project on Blackfoot traditional territory Mootookakio’ssin [Distant Awareness] funded by a grant from the New Frontiers in Research Fund, administered by the Social Sciences and Humanities Research Council of Canada, aim to connect Blackfoot people living in North America with their cultural heritage held by museums in the UK. Directed by knowledge holders from Kainai, Piikani, Siksika, and Amskapipiikani nations, the project is a collaboration between Indigenous and non-Indigenous researchers, artists, archaeologists, museum professionals and students. The project uses digital imaging techniques, art-based public engagement and spatial web technologies. These tools will improve the ability of Blackfoot people to interact with their historical belongings and recover and shape their own narratives surrounding them.
Her work includes collaborations with Ian Dawson, Andrew Jones and Marta Diaz-Guardamino on ‘Making a mark: imagery and process in the British and Irish Neolithic’, the first holistic analysis of decorated artefacts from the British and Irish Neolithic period. She makes also work with Francis Summers as LM/FS.
Recent work has been included in events at Ashkal Alwan, Beirut; ICA, London; Modern Art Oxford; and CalArts, USA. She has exhibited at the Ritsurin Gardens, Japan; The British Library, London; Foxy Production, New York; LLS 387, Antwerp. Minkin studied at the Ruskin School of Drawing and Fine Art and New College, University of Oxford, and at The Royal College of Art (MA Painting). Awards include an Abbey Fellowship in Painting at The British School at Rome and the Art Foundation Fellowship in Painting.
Situated at the interface of archaeology and gaming, my work disrupts conventions of artistic and social production, and builds new communities. I work on the adoption of 3D imaging into art practice. Data objects and algorithmic cultures produce entirely new paradigms for artists, dissolving conventional disciplinary boundaries, producing temporal slippages and material problems. If digitised pre-historical objects take on new lives, economies and qualities, and post-historic (contemporary) informatics cultures produce new materialities and collectivities, then my research seeks to articulate the interplay between the forensic practices of archaeologists and the pathologised spaces, weaponised imaging and vernacular modelling of gaming communities.