BiographyMick Finch’s research takes the form of studio practice, writing and pedagogical projects. He exhibits his work regularly and internationally most recently in Engrams, a one-person show at the Piper Gallery (London 2013) and the group show Painting, Tableau, Stage (Urban Space, Columbus, Ohio, 2013).
He has published widely on visual art practices and is associate editor of the Journal of Visual Art Practice and the Journal of Contemporary Painting for which in 2015, he co-edited a special edition on Simon Hantai’s work. He lived, exhibited and taught for 20 years in France and has written extensively about post-war French art. He leads the Tableau research project at CSM an outcome of which was the conference Tableau: Painting Photo Object at Tate Modern in 2011. More information can be found on the Tableau project’s blog.
He is a member of the French research group Peinture: un réseau de recherche funded by the French Ministry of Culture and with whom he is currently developing a project about translation in relation to artistic practice. In 2011 he was an Abbey Fellow in Painting at the British School in Rome and he is a Senior Scholar of the Terra Foundation in Paris.
Mick Finch’s studio practice was initially based in painting. Since the exhibition Closer Than You Think (Art et Patrimoine, Paris, 1998) his work has increasingly engaged with questions of image and abstraction, moving away from specific questions of painting in favour of open pictorial regimes.
In the article Studio notes: Closer Than You Think, Ply- series, Riposte, Sublimey and Nevermind (The Journal of Visual Art Practice, n°. 8.1/2., 2009) he developed a discussion around his studio practice focusing on the modes of address of images as being akin to rhetorical and aesthetic structures.
From 1996 his work increasingly used image mediation and projection in the production of work and he discussed this context in the article The Night Shift (Contemporary Magazine n°. 58, 2003). Finch lived and worked in France from 1991 – 2008 and became increasingly interested in post-war French and particularly the work of groups such as Supports-surfaces, Ja na pa and BMPT. This was reflected in many of his writing and in terms of the critical context of his studio practice. He formulated a project that examined a problematic whereby, in French the term tableau is often mobilized as an alternative to painting (peinture). This distinction seems one reason why ‘expanded’ forms of painting in France are very distinct in their engagement from non-French manifestations. He gave a talk about his own work in 2009 for ICFAR in London that discusses in detail these issues.
He established the Tableau Project in 2010 that has included a research symposium (the proceedings of which were published by the Journal of Visual Culture, Volume 12, Number 1 in 2013, the conference, Tableau: Painting, Photo, object) at Tate Modern in 2011 and a series of seminars The Tableau Form: methodology and composition given by Jean-François Chevrier at CSM in 2011. Finch’s work from 2010 onward became increasing involved with photo-relief structures and ideas of collage and montage that derive much context from the work of Aby Warburg. This work was developed through a residency at the British School at Rome in 2011 and in the solo exhibition Engrams (The Piper Gallery, London, 2013).
He is soon to publish two articles about the technical apparatus that Aby Warburg utilized. This was in the context of papers presented during Martin Westwood’s Headstone to Hard Drive project. Finch and Westwood are currently collaborating with the Bilderfahrzeugeresearch project at the Warburg institute in London toward stage a colloquium event at the Warburg haus in Hamburg in June 2016.
Grants and awards
(Figures indicate amount awarded to UAL)
- Arts and Humanities Research Council, A Vision for Europe: Academic Responsibility and Action in Times of Crises, £27,606.43, (2019-2020)
- Finch M, Motion S. 'Inner Landscapes' (group exhibition, Sid Motion Gallery, London) (2017)
- Armstrong P, Rouan F, Finch M. Objet Tressage (2017)
- Finch M, Armstrong P, Rouan F. Objet Tressage (2017)
- Finch M. Abbey fellowship in painting (2011)
- Finch M. Modes of address (2011)
- Finch M. Engrams Rome 2011 (2011)
- Finch M. ICFAR Ideas and Aperitifs, Mick Finch (2009)
- Finch M. The Technical Apparatus of the Warburg Haus: possible returns from oblivion (2017)
- Finch M, Westwood M. The Warburg Haus: Apparatus, inscription, data, speculation (2017)
- Finch M. The Technical Apparatus of the Warburg Haus (2017)
- Finch M. Dead and Alive: Warburg’s Mnemosyne Atlas (2016)
- Finch M, Lisbon L, Sturgis D. Simon Hantaï Editorial (2015)
- Finch M. Simon Hantaï: Round table discussion (2015)
- Finch M. Éric de Chassey on Simon Hantaï (2015)
- Finch M, Harland B. Editorial (2015)
- Finch M. The 'Tableau Project' (2013)
- Finch M. Studio notes: Closer Than You Think, Ply- series, Riposte, Sublimey and Nevermind (2009)
- Finch M. The Artists as Cultural Migrant: the role of the residency in 'Main Tenant' (2019)
- Finch M, Beyer A. Foreword to'Metadata' (2018)
- Finch M. Recherche: un mode d'emploi (2018)
- Finch M. L’Artiste Comme Chercheur (2017)
- Finch M. Synthetic Composition 1, 1923: Some Possible Constellations (2015)
- Finch M. Synthetic Composition 1, 1923: Some Possible Constellations (2012)
- Finch M. Kilka możliwych konstelacji (2012)
Conference, Symposium or Workshop item
- Finch M. Warburg's Trans-disciplinarity: the iconographic and technical apparatuses (2018)
- Finch M. A Vision for Europe: British Art and the Mediterranean (2017)
- Finch M. L'Artiste comme chercher (2017)
- Finch M. The Technical Apparatus of KBW (2016)
- Finch M, Warboys J. Mick Finch in conversation with Jessica Warboys (2016)
- Finch M. Recherche: une Mode d'emploi (2016)
- Talbot E, Finch M, Schofield J. City Lights, Valletta (2015)
- Finch M. The Technical Apparatus of the Warburg Haus (2015)
- Finch M. Dead and Alive: Warburg’s Mnemosyne Atlas (2014)
- Finch M, Sturgis D. Simon Hantaï: round table discussions (2014)
- Finch M. Tableau (2011)
- Finch M. Synthetic Composition 1, 1923: Some Possible Constellations (2011)
- Finch M, McGettigan A. Art and the practice-based doctorate (2011)
- Finch M, McGettigan A. Best practice in recruitment and retention (2011)
- Finch M. Fragments, openness and contradiction in painting and photography (2011)
- Finch M. Fragments, openness and contradiction in painting and photography. (2010)
- Finch M. Fragments, openness and contradiction in painting and photography (2010)
- Minkin L, Temin-Vergez C, Harland B, Finch M. Machine Room: A Blueprint for Painting (2006)
- Finch M. Book of Knowledge 32, 37, 40 and 43 (four prints) (2017)
- Finch M. The British Society of Self-Deprecation: Works on Paper by Contemporary British Artists (2016)
- Finch M. Book of Knowledge 26 (2016)
- Finch M. Engrams 2013 (2013)
- Elliot S, Finch M, Harland B, Derby M. Painting / Tableau / Stage (2013)
- Finch M. Picture/ Tableau/ Screen (2012)
- Finch M. The pavement and the beach (2011)
- Finch M, Gasper R, Haslett J, Kjar B. The producers (2011)
- Finch M. The producers (2011)
- Finch M. Bare Life, tableaux 2009 - 2010 (2010)
- Finch M. Bare Life: tableaux 2009-2010 (2010)