Professor Jonathan Harris

Subject Organisations:

Jonathan was a member of the Association of Art Historians (UK) and College Art Association (USA) for many years. He organised the AAH UK national conferences in 1991 (Leeds Polytechnic/Leeds University) and 2001 (University of Liverpool), and is a member of the Strategic Reviewers Group for the Arts and Humanities Research Council and a member of the AHRC’s Peer Review College.

Editorial boards:

• Critique d’Art (IACA-Archives of Art Criticism) France (2011- )
• Revista de Estudios Globales y Arte Contemporáneo (AGI, University of Barcelona) Spain (2012- )
• Luxury (Bloomsbury, London, 2013- )
• International Advisory Board for Konsthistorisk tidskrift/Journal of Art History (Taylor & Francis/Routledge 2009- )

External Examining:

Taught:

• (2011-15) External Examiner: BA (hons) Fine Art, Dissertations, Slade School of Art, University College London.
• (2010-14) External Examiner: BA (hons) History of Art, University of York.
• (2007-9) External Examiner: BA Fine Art, National College of Art and Design, National University of Ireland, Dublin (dissertations).
• (2006-8) External Examiner: BA History of Art, University of Warwick.
• (2006-8) External Examiner: BA Fine Art, Swansea Institute of Higher Education (history of art dissertations).
• (2005-7) External Examiner: MA Art History, University of Bristol.
• (2004-7) External Examiner: MA Social History of Art, University of Leeds.
• (2002-7) External Examiner: Art History, Department of Extra-Mural Studies, University of Sussex.
• (2001-5) External Examiner: BA Art (hons) History, Department of Art History, University of Bristol.
• (2001-4) External Examiner: BA (hons) History of Modern Art, Department of Art History and Archaeology, University of Manchester.
• (2000-2) External Examiner: MA United States Studies (art history), Institute of United States Studies, University of London.
• (1999-2003) External Examiner: BA (hons) History of Art, Design and Film, Department of Humanities, University of Northumbria at Newcastle; BA (hons) Fine Art (dissertations).
• (1997-2000) External Examiner: MA Art and Ideology; MA Contemporary Art Theory, Department of Art History and Theory, Winchester School of Art, University of Southampton.
• (1997-1999) External Examiner: BA (hons) History of Art (Combined Studies); MA Design, MA History of Art University of Liverpool.
• (1994-1999) External Examiner: BA (hons) History of Art, Design and Film, School of Humanities, Sheffield Hallam University.
• (1993-1996) External Examiner: BA (hons) Fine Art (dissertations); BA Design for Communication Media (dissertations), School of Art and Design, Manchester Metropolitan University.

Research Degrees:

• (2018) Owen J. Logan, ‘Fractured Culture: The Sociological Poetics of Art, Participation and Well-being’ PhD, University of Northumbria, 12 January 2018 (re-examination).
• (2017) Rachel Marsden, ‘The Transcultural Curator: Local to Global Translations of Contemporary Chinese Art since 1980’ PhD, Birmingham City University, 3 July 2017.
• (2015) Owen J. Logan, ‘Fractured Culture: The Sociological Poetics of Art, Participation and Well-being’ PhD, University of Northumbria, 24 September 2015.
• (2014) Aikaterini Karavida, ‘The Thessaloniki Biennale: The agendas and alternative potential(s) of a newly-founded biennial in the context of Greek governance’ PhD City University, London, 27 October 2014.
• (2014) Bridget Tracy Tan, ‘Gestures and Acclamations: some assembly required’ PhD Chelsea School of Art, University of the Arts, London, 22 July 2014.
• (2014) Nuria Querol, ‘The Impact of Globalisation on Curating Contemporary Art in India 1990-2012’ PhD Royal College of Art, London, 2 April 2014.
• (2014) Michael Frederick Rattray, ‘Functional Anarchism(s) and the Theory of Global Contemporary Art,’ PhD Concordia University, Montreal, 14 January 2014.
• (2013) Valentin Roma, ‘Economy: Picasso,’ PhD University of Southampton, 19 June 2013.
• (2011) Ana Beatriz Ferreira da Rocha e Silva, ‘Spectacular architecture, identity crisis, cultural politics and the reinvention of the significance of museums of modern art,’ PhD University of the Arts (Camberwell College), 25 June 2011.
• (2010) Dennis De Lucca, ‘The Contribution of the Jesuits to Military Architecture in the Baroque Era,’ PhD University of Liverpool, 25 May 2010.
• (2010) Claudia Lima, ‘Representations of the city: Porto after 2001, Perceptions and Change,’ PhD University of Liverpool, 26 April 2010.
• (2010) Kostas Bassanos, ‘Gilles Deleuze’s Baroque Fold and the Transparency Effect: Essential Elements for a Contemporary Discourse on Baroque and New Media,’ PhD University of Southampton Winchester School of Art, 26 January 2010.
• (2009) Beccy Kennedy, ‘Picturing Migration: Presenting Art Works by Artists from South Korea working in Britain, 2006-2008,’ PhD Manchester Metropolitan University, 25 November 2009.
• (2009) Georgina Webb-Dickin, ‘Postmodernism and the Fall of the Berlin Wall,’ MPhil (B) University of Birmingham, 23 November 2009.
• (2007) Grant Pooke, ‘Francis Klingender (1907-1955): An Intellectual Biography,’ PhD University of Southampton, Winchester School of Art, 9 January 2007.
• (2006) Peter Martin, ‘The Late-Georgian Trade in Swiss Stained Glass,’ MSc (Eng) by Research – University of Leeds, 20 November 2006.
• (2006) Michael Belshaw, ‘Art, Writing, and Autobiography,’ PhD The Open University, 7 November 2006.
• (2006) Michael Wilson, ‘Conflicted Faculties: Rhetoric, Knowledge Conflict and the University,’ PhD National College of Art and Design, National University of Ireland, Dublin, 15 September 2006.
• (2004) Rebecca Niblock, ‘Political Meaning in the Paintings of Barnett Newman,’ PhD University of Bristol, 25 October 2004.
• (2003) Helen L. Pheby, ‘“Wot For?” - “Why Not?”: Controversial Public Art - An Examination of the Terms,’ PhD University of Liverpool, 20 May 2003.
• (2003) Malcolm Richard O’Kelly, ‘Myth and Tragedy. The Influence of the Figure and the Classical on the Work of Mark Rothko,’ MPhil University of Birmingham, 7 January 2003.
• (2002) Geffrey Corbett Green, ‘Walter Spies, Tourist Art and Balinese Art in Inter-War Colonial Bali,’ PhD Sheffield Hallam University, 17 July 2002.
• (2002) Derek Horton, ‘A Theoretical and Practical Investigation into the Embodiment of Histories, Use-values and Exchange-values in Objects, and its Implications for their Sculptural Use in Art Practice,’ PhD Leeds Metropolitan University, 15 July 2002.
• (2001) Anthony Donovan, ‘On the Phenomenon of Mail Art and Its Relation to and Critique of Mainstream Art,’ PhD Manchester Metropolitan University, September 2001.
• (1998) Fiona Candlin, ‘Artwork and the boundaries of academia: a theoretical/practical negotiation of contemporary art practice within the conventions for academic research,’ PhD University of Keele, October 1998.
• (1997) Cynn Bang-Heun, ‘Deconstruction and the Process of Erasure-in-Becoming in Culture,’ PhD University of Leeds, September 1997.
• (1996) Chris Riding, ‘The Art Criticism and History of Michael Fried,’ PhD University of Leeds, November 1996.
• (1995) Alison Bracker, ‘A History of the International Art Journal Artforum,’ PhD University of Leeds, March 1995.

Books: 

• Terrorism and the Arts: Practices and Critiques in Contemporary Culture (Routledge, 2021)
• The Global Contemporary Art World (Wiley-Blackwell, USA, 2017)                                                         
• Prineas (Adrian Joyner Press, 2013)
• Picasso and the Politics of Representation: War and Peace in the Era of the Cold War and Since (Liverpool University Press/Tate Liverpool, 2013)
• The Utopian Globalists: Artists of Worldwide Revolution, 1919-2009 (Wiley-Blackwell, USA, 2013)
• Bashir Makhoul (Palestinian Art Court: al Hoash, Jerusalem, 2012)
• Regenerating Culture and Society: Architecture, Art and Urban Style within the Global Politics of City-Branding (Liverpool University Press/Tate Liverpool, 2011)
• Globalization and Contemporary Art (Wiley-Blackwell, USA, 2011)                   
• Inside the Death Drive: Excess and Apocalypse in the World of the Chapman Brothers (Liverpool University Press/Tate Liverpool, 2010)
• Identity Theft: The Cultural Colonization of Contemporary Art (Liverpool University Press/Tate Liverpool, 2008)
• Value: Art: Politics: Criticism, Meaning, and Interpretation after Postmodernism (Liverpool University Press, 2007)
• Dead History, Live Art?: Spectacle, Subjectivity, and Subversion in Visual Culture since the 1960s (Liverpool University Press/Tate Liverpool, 2007)
• Art History: The Key Concepts (Routledge, 2006)
• Summer of Love: Psychedelic Art, Social Crisis and Counterculture in the 1960s (Liverpool University Press and Tate Liverpool, 2005)
• Writing Back to Modern Art: After Greenberg, Fried, and Clark (Routledge, 2005)
• Art, Money, Parties: New Institutions in the Political Economy of Contemporary Art (Liverpool: Liverpool University Press and Tate Liverpool, 2004)
• Critical Perspectives on Contemporary Painting: Hybridity, Hegemony, Historicism (Liverpool: Liverpool University Press and Tate Liverpool, 2003)
• The New Art History: A Critical Introduction (Routledge, 2001)
• General Introduction and four specific Introductions to the revised edition of Arnold Hauser’s The Social History of Art, originally published in 1951 (Routledge: four volumes, 1999). (My introductory essays are an integrated and continuous c. 40,000 word text published in four parts: volume 1 From Prehistoric Times to the Middle Ages; volume 2 Renaissance, Mannerism, Baroque; volume 3 Rococo, Classicism and Romanticism; volume 4 Naturalism, Impressionism, The Film Age.
• Federal Art and National Culture: The Politics of Identity in New Deal America (Cambridge University Press, 1995)
• Modernism in Dispute: Art since the Forties (Yale University Press, 1993)
• Art in Modern Culture: An Anthology of Critical Texts (Phaidon. 1992)