Gill Perry
http://data.open.ac.uk/person/2edde7047073bf907de210cbadbafa60
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Biography <p>Gill Perry joined the Open University in 1977, and was Head of Department from 2005-08, and Head of Research from 2005-2009. Currently she is Head of&nbsp;External Collaborations and chair of the<a href="http://www.openartsarchive.org/" rel="nofollow"><u>Open Arts Archive</u></a>, a major website and archive which stores collaborative events and art projects organized by the Open University and fifteen collaborating museums and galleries across the UK.</p>
Description <p>Gill Perry joined the Open University in 1977, and was Head of Department from 2005-08, and Head of Research from 2005-2009. Currently she is Head of&nbsp;External Collaborations and chair of the<a href="http://www.openartsarchive.org/" rel="nofollow"><u>Open Arts Archive</u></a>, a major website and archive which stores collaborative events and art projects organized by the Open University and fifteen collaborating museums and galleries across the UK.</p>
Job title Emeritus Professor
Research overview <p>Her recent book,<em>Spectacular Flirtations</em>(shortlisted for the 2007<a href="http://www.str.org.uk/events/bookprize/archive/bookprize2007.shtml" rel="nofollow">Theatre Book Prize</a>) explores issues of gender, spectatorship and femininity in eighteenth century theatrical portraits, while her edited collection,<em>Difference and Excess in Contemporary Art</em>looks at the role of gender difference and ideas of&lsquo;feminine excess&rsquo; in the work of some contemporary women. In 2011 she curated a show at the Royal Society,<em><a href="http://royalsociety.org/events/exhibitions/crystal-world/" rel="nofollow">Crystal World</a>,</em>which explored the use of crystals in contemporary art. She also curated a major exhibition<em>The First Actresses: Nell Gwyn to Sarah Siddons</em>at the National Portrait Gallery, London in 2011-2012. She edited and co-authored a catalogue<em>The First Actresses</em>which accompanied the show, and which explores the roles of feminine portraiture in the construction of eighteenth century celebrity culture.<a href="/people/sites/www.open.ac.uk.people/files/files/FirstActresses.pdf" rel="nofollow">Download the exhibition flyer</a>to find out more [PDF 177 KB].</p><p>She is co-editor of a forthcoming collection,<em>Placing Faces: The Portrait and the Country House in the Long Eighteenth Century</em>(Manchester University Press, 2013<em>)</em>. Her forthcoming book<em>Playing at Home</em>:<em>The House in Contemporary Art</em>(Reaktion, 2013) explores the themes of the house and home in recent and contemporary art, focusing on installation art and film.</p><p>She is co-chair of the<a href="http://www.open.ac.uk/Arts/gender-in-humanities/index.html">Gender in the Humanities</a>Research Group in the Arts Faculty, and was the Reviews Editor of the journal Art History from 1995&ndash; 2001. She was also a panel member (Panel 2) of the Arts and Humanities Research Council from 2006-2010. She is currently supervising five PhD students who are researching topics in modern and contemporary art.</p><p>&nbsp;</p><h3>Selected Research Publications</h3><h4>Single Authored Books:</h4><p><em>Playing at Home: The House in Contemporary Art</em>. London: Reaktion books Ltd (forthcoming 2013).<br /><a href="http://oro.open.ac.uk/36257/">Find out more about this book</a></p><p><em>Spectacular Flirtations: Viewing the Actress in British Art and Theatre 1768-1820</em>, Yale University Press, 2007<br /><a href="http://yalebooks.co.uk/display.asp?K=9780300135442" rel="nofollow">Find out more about this book</a></p><p><em>Women Artists and the Parisian Avant-Garde: Modernism and&lsquo;Feminine&rsquo; Art 1900-1920s</em>, Manchester University Press, 1995<br /><a href="http://www.open.ac.uk/Arts/arthistory/women-avant-garde.shtml">Find out more about this book</a></p><p><em>Paula Modersohn-Becker: Her Life and Work,</em>The Women&rsquo;s Press, London, 1979; and Harper and Row, 1980</p><h4>Books edited and co-authored:</h4><p><a href="http://oro.open.ac.uk/30870/"><em>The First Actresses: Nell Gwyn to Sarah Siddons</em></a>, edited and co-authored, London: National Portrait Gallery and University of Michigan Press, 2011.</p><p><em>Themes in Contemporary Art</em>, co-editor with Paul Wood and author of chapter 6&lsquo;Dream Houses: Installations and the Home&rsquo;. New Haven: Yale University Press, 2004.</p><p><em>Difference and Excess in Contemporary Art: The Visibility of Women&rsquo;s Practice</em>, editor, Blackwells, 2004<br /><a href="http://www.open.ac.uk/Arts/arthistory/difference-excess.shtml">Find out more about this book</a></p><p><em>Women, Scholarship and Criticism: Gender and Knowledge c.1790-1900</em>, co-editor with Anne Laurence and Joan Bellamy and author of introduction and chapter 1,&lsquo;Musing on the Muses&rsquo;, Manchester University Press, 2000</p><p><em>Gender and Art</em>, editor and author of introduction&lsquo;Gender and Art History&rsquo;, section introductions and conclusions and chapters 3, 8 and 11, Yale University Press, 1999</p><p><em>Museums, Academies and Canons of Art</em>, editor and author of preface and chapter 4,&lsquo;Mere Face Painters&rsquo;, Yale University Press, 1999</p><p><em>Femininity and Masculinity in 18th Century Art and Culture</em>(co-editor with Michael Rossington) and author of introduction&lsquo;Constructing the Feminine: A Delicacy of Taste?&rsquo; and chapter 1,&lsquo;Women in Disguise: Likeness the Grand Style and the Conventions of Feminine Portraiture in the Work of Sir Joshua Reynolds&rsquo;, Manchester University Press, 1994</p><p><em>Primitivism, Cubism and Abstraction</em>, editor and author of part 1,&lsquo;Primitivism and the Modern&rsquo;, Yale University Press 1993</p><h4>Selected Articles</h4><p>&lsquo;Watery Weather&rsquo;: Roni Horn in Iceland&rsquo;,<em>Art History</em>, 32.1, February, 2009</p><p>&nbsp;&lsquo;Installations and Exploding Homes&rsquo;, in ed. David Bindman, Chris Stephens,<em>A History of British Art,</em>Tate and Paul Mellon Center, 2008</p><p>&lsquo;Staging Gender and&quot;Hairy Signs&quot;: Representing Dorothy Jordan&rsquo;s Curls&rsquo;,<em>Eighteenth Century Studies</em>, vol. 38, no. 1, 2004</p><p>&lsquo;The Expanding Field: Ana Mendieta&rsquo;s<em>Silueta Series</em>&rsquo;, in<em>Frameworks for Modern Art</em>, edited by Gill Perry and Paul Wood, Yale University Press, 2004</p><p>&lsquo;Ambiguity and Desire: Metaphors of Sexuality in Late Eighteenth Century Representations of the Actress&rsquo;, in<em>Notorious Muse: The Actress in British Art and Culture</em>, Paul Mellon Centre and Yale University Press, 2002</p><p>&lsquo;The Spectacle of the Muse: Exhibiting the Actress in the Royal Academy&rsquo;, in<em>Art on the Line</em>, edited by David Solkin, Paul Mellon Centre and Yale University Press, 2001</p><p>&lsquo;Women Painting Women: Gender, Modernism and&quot;Feminine&quot; Art c.1910-c.1930&rsquo;, in<em>Rethinking Art Between the Wars: New Perspectives in Art History</em>, edited by Hand Dam, Oystein Hjort, Niels Marup Jensen, University of Copenhagen, 2000</p><p>&lsquo;Exhibiting les Ind&eacute;pendants: Gauguin and the Caf&eacute; Volpini Show&rsquo;, in<em>The Challenge of the Avante Garde</em>, edited by Paul Wood, Yale University Press, 1999</p><p>&lsquo;The British Sappho: Borrowed Identities and the Representation of Women Artists in the Eighteenth Century&rsquo;,<em>Oxford Art Journal</em>, vol. 18, no. 2, 1995</p><p>&lsquo;The Ascent to Nature: Some metaphors of Nature in Early Expressionist Art&rsquo;, in<em>Expressionism Re-assessed</em>, edited by Shulaminth Behr and David Fanning, Manchester University Press, 1993</p><h4>Selected Exhibition Catalogues</h4><p>&lsquo;Women of Fashion: Dressing the Actress on and off Stage&rsquo;, catalogue essay for<em>Behind the Scenes: The Hidden Life of Georgian Theatre 1737-1784</em>, Dr Johnson&rsquo;s House Trust, London, 2007</p><p>&lsquo;Tales, Trails and Transformations: The Work of Alice Maher&rsquo;, catalogue essay for<em>Natural Artifice: Alice Maher</em>, at Brighton Museum and Art Gallery and Nottingham Art Gallery, 2007</p><p>&lsquo;Anya Shrey: Solo Entertainer&rsquo;, catalogue introduction for exhibition of Anya Shrey, Milton Keynes Gallery, 2006</p><p>&lsquo;Venetian Dreams and&quot;Surrounding Stories&quot;: Alice Maher&rsquo;s Orsola, catalogue essay for Maher&rsquo;s installation at the Oratorio of San Ludovico, (Nuova Icona), Venice 2006</p><p>&lsquo;She sees like a woman and paints like a man&rsquo;, catalogue introduction,<em>Emilie Charmy 1878-1974</em>, Kunsthaus Buhler, Stuttgart, 1991</p><p>&lsquo;Picasso&rsquo;s Later Graphic Work&rsquo;, catalogue introduction, Galerie Herbagem Cannes/Waddingtons, London 1982</p><p>Essay&lsquo;Germany, Norway and Switzerland&rsquo; and catalogue entries for<em>Post-Impressionism: Cross Currents in European Painting 1880-1906</em>, National Gallery of Art Washington, 1980</p><p>Catalogue entries for German exhibits in<em>Post-Impressionism: Cross Currents in European Painting 1880-1906</em>, Royal Academy of Art, 1979-80</p>
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Type Person
Label Professor Gillian Perry
Family name
  • Perry
  • Perry
Given name
  • Gill
  • Gillian
  • Gillian
Mailbox SHA1 sum 9574f4b5b8aae8c5d5c64b2c0707a58a87d6fcf6
Name
  • Gill Perry
  • Gillian Perry
  • Professor Gillian Perry
  • Gillian Perry
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