Dr. Alison Bracker | Dr. Tina Fiske

Dr. Alison Bracker received her PhD in the History of Art from the University of Leeds for her thesis A Critical History of the International Art Journal Artforum. She has taught art history and cultural studies across the UK, and has guest lectured at the University of Southampton and Sotheby’s. She was Research Fellow at the Royal College of Art in London, where she spent six years exploring the theoretical and practical issues arising from the collection, curation, and conservation of non-traditional, organic, and impermanent materials in contemporary works of art. Dr. Bracker continues to lecture and publish internationally on this subject, and has conducted interviews with over 80 artists, conservators, curators, museum directors, collectors, and gallerists on issues arising from the creation, acquisition, and maintenance of objects comprising unconventional materials.

Dr. Bracker is a member of the International Council of Museums Committee for Conservation’s working groups in Modern Materials, Painting, and Education and Training, and acts as Assistant Co-ordinator for the working group in Theory and History of Conservation.

Rachel Barker and Alison Bracker, “Beuys Is Dead: Long Live Beuys! Characterising Volition, Longevity, and Decision-Making in the Work of Joseph Beuys.” Tate Papers, 2005, Issue 4. www.tate.org.uk/research/tateresearch/tatepapers/05autumn/

Rachel Barker and Alison Bracker, “Relic or Release: Defining and Documenting the Physical and Aesthetic Death of Contemporary Works of Art,” ICOM-CC 14th Triennial Meeting The Hague Preprints Volume 2, International Council of Museums Committee for Conservation, 2005.

"Celebration? Realife Revisited,” Marc Camille Chaimowicz, Celebration?Realife Revisited, Coédition Frac Bourgogne/Koenig Books Ltd; Cabinet (London); L’Office-ENSA (Dijon). 2005.

"Field Study," Eisteddfod 2003 (Wales: National Eisteddfod, 2003). Also at www.bbc.co.uk/wales/eisteddfodarts03/ackroyd_harvey.shtml

"Alison Wilding," Sculpture in 20th-Century Britain 2 (Leeds: Henry Moore Institute, 2003).

"From Pillar to Post with Ambit." Conservation and Maintenance of Contemporary Public Art, ed. Hafthor Yngvason (London: Archetype Publications, 2002).

"The Emergent Blade: The Grass Works of Heather Ackroyd and Dan Harvey." Contemporary Art: Creation, Curation, Collection, Conservation: Postprints, 2001 (Dublin: IPCRA, 2002).

"Oh, The Shark Has Pretty Teeth, Dear." www.axa-nordstern-art.co.uk, July 2002.

Dr. Tina Fiske received her PhD in the History of Art from the University of Glasgow, for her thesis entitled Taking Stock: A Study of the Acquisition and Long Term Care of ‘Non-Traditional’ Contemporary Artworks by British Regional Collections 1979 – Present. She teaches art history at the University of Glasgow, and occasionally lectures at Edinburgh College of Art and Glasgow School of Art.

She is currently teaching undergraduate and postgraduate courses on ‘Collecting and Conserving Contemporary Art’ at the University of Glasgow, which introduces students to some of the philosophical, historical, and practical issues that attend the collection and conservation of non-traditional contemporary works of art. She is part of the organising committee for a major international conference at the University of Glasgow in March 2006 on ‘Art in the Land’.

In October 2004, Dr. Fiske organised, convened, and chaired a conference on the Preservation of Digital Art at the Centre for Contemporary Arts in Glasgow, on behalf of Erpanet and Humanities Advanced Technology and Information Institute (University of Glasgow). Between 2003 and 2004, Dr. Fiske, as the Andy Goldsworthy Research Fellow at the University of Glasgow, undertook a year-long project to catalogue and digitise Goldsworthy’s original early photographic documentation. In November 2004, she delivered several lectures at Cornell University that focused on her work as Goldsworthy Fellow. Dr. Fiske has previously worked as an assistant curator at the Tate, and also supervised the study room at the National Portrait Gallery, London.

Dr. Fiske is a member of the International Council of Museums Committee for Conservation’s working group in the Theory and History of Conservation.

Catalogue of permanent sculptures by Andy Goldsworthy for a forthcoming publication, National Gallery of Art, Washington.

The Preservation of Digital Art (Special Focus: Context), to be available at www.erpanet.org

“Andy Goldsworthy,” Sculpture in 20th Century Britain: A Guide to the Leeds Collections, (Leeds: Henry Moore Institute, 2003).

“Eva Hesse and Anya Gallaccio,” Matters, February, 2003.

“‘The Nation’s Equipment’: Funding Conservation Provision and Training for Museums and Galleries in the UK 1969-1984,” ICOM-CC 13th Triennial Meeting, Rio de Janeiro, Preprints, Vol.2, (International Council for Museums Committee for Conservation, 2002).

“Accessioning Ernesto Neto,” Contemporary Art: Creation, Curation, Collection, Conservation: Postprints, 2001 (Dublin: IPCRA, 2002).