Dr Fiona Allen
Lecturer in History of Modern and Contemporary Art and Visual Culture (E&S)
Fiona Allen received her PhD from the School of Fine Art, History of Art and Cultural Studies at the University of Leeds in January 2016. During this time, she was also co-editor of the journal parallax. Her current research and teaching interests include contemporary art and its relationship to design and architecture, critical theory and the history of photography. Before joining the staff at Exeter, Fiona contributed to taught programmes in the School of Design, again at the University of Leeds, and Sotheby's Institute of Art, London.
My research explores the ways in which histories of colonialism/imperialism have been addressed in modern and contemporary art, with an emphasis on lens-based media. At present, I have three main interests which stem from this topic:
- The role of modernist architecture in the implementation and maintenance of French colonial rule;
- Photojournalism, questions of memorialisation and the Vietnam War;
- Health activism in 1970s New York and the Puerto Rican diaspora, specifically the relationship between radical politics and naturopathic medicine.
I have presented conference papers at a range of institutions, including UCL, Roma Tre University and Concordia University, Montreal. I have also published work in Art & the Public Sphere, Architecture beyond Europe and the Journal of Curatorial Studies. In 2015, I guest edited a special issue of the journal parallax. The issue explored the material and philosophical resonances of the term 'concrete' and their implications for contemporary art-architecture practices.
I have recently begun work on a new project which examines the use of counterfactual narratives in artists' film and video.
After completing my PhD I worked for 18 months on a research project with colleagues from the Department of History of Art and Archaeology at SOAS, University of London (Dr Joanna Wolfarth) and The Asia Projector (Annie Jael Kwan). Taking its lead from films such as Anocha Suwichakornpong’s By The Time it Gets Dark and La France est notre patrie by Rithy Panh, the project explored the ways in which colonial film and photographic archives have been rearticulated within contemporary Southeast Asian visual culture. The outcome was a two-day conference and film programme which attracted speakers from Europe, Southeast Asia and North America. My colleagues and I are currently guest editing a special issue of Southeast of Now based on the event. It is scheduled to be published in October 2019.