Felicity’s work centres around art: through practice; writing; its display, management and institutions; and art education. Her work is independent, sometimes solitary, as well as a medium for dialogue, exchange and collaboration.
| Career at a glimpse <top> |
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| 1980 — current | Artist, writer, educator | |
| 2010 — 2013 | Artist / writer; two books published September 2011; guest scholar at Getty Research Institute (2011, 2012); Visiting Research Fellow, London South Bank University; visiting lecturer and guest speaker at European and US art schools and conferences | |
| 1999 — 2010 | Senior manager at Tate and Hayward Gallery; lecturer and writer | |
| 1980 — 1999 | Artist working to commission and exhibition | |
| 1991 — 1999 | Portfolio work, focus on gallery education | |
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director and developer of a new national organisation, Engage founder-editor, producer and writer for magazine, Engage artist in social and educational settings |
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| 1984 — 1991 | Lecturer in fine art and partnership programmes; artist educator in social settings; occasional art journalism | |
| 1982 — 1984 | Slade School of Art, University College London, MA / MPhil fine art | |
| 1978 — 1983 | Lecturer in women’s art; curatorial assistant in contemporary art; artist educator in social settings | |
| 1974 — 1978 | Exeter University, BA English / fine art | |
| Art <top> | ||
| Current practice is a dialogic portraits project produced in the form of books and for exhibition. Between 1999 and 2010 in her roles at Tate and the Hayward Gallery, Felicity worked with her teams to produce events, collaborative work and displays, with artists including Reem Al-Khatib, Faisal Abdu’Allah, Gayle Chong Kwan, Raimi Gbadamosi, Sara Haq, Hew Locke, Trevor Mathison of Smoking Dogs Films, Henna Nadeem, Olivia Plender, and Ala’ Younis. Between 1977 and 1999, Felicity consistently made work for exhibition, as well as working in social projects. | ||
| Selected solo exhibitions | ||
| 1998 | Photo 98, Yorkshire and Humberside, Greetings site specific photographic installation | |
| 1993 | Towner Gallery, Eastbourne, exhibition and residency | |
| 1991 | Southern Arts Touring Exhibitions, Elements and senses | |
| 1989 | Mario Flecha Gallery, London | |
| 1989 | Public Art Development Trust, London | |
| 1986 | Air Gallery, London, The naked city: Durham effigy | |
| 1986 | Shape London, touring | |
| 1985 | Whitechapel Art Gallery at Spitalfields Health Centre, Rooms | |
| 1984 — 1985 | ICA, London, Café Royal installation | |
| Selected group exhibitions | ||
| 2012 | Stockwell Studios, London, Off the S{h}elf:the self and subjectivity in the artist's book | |
| 1997 | Towner Gallery, Eastbourne, What’s for dinner? | |
| 1996 | Contemporary Art Society | |
| 1994 | Charleston Gallery, Print show | |
| 1990 | Ikon Gallery, Birmingham, Mothers, touring | |
| 1978 — 1990 | Whitechapel Gallery, London, Whitechapel open | |
| 1989 | Air Gallery, London, Critics space | |
| 1988 |
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Harris Museum, Preston, Graven images Pomeroy Purdy Gallery, London, Print show |
| 1987 | George Ciscle Gallery, Baltimore, USA Mario Flecha Gallery, London Curwen Gallery, London, 8 x 8 Mario Flecha Gallery, London, Ikons |
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| 1986 | Plymouth Arts Centre, Love: Sacred and profane, touring Air Gallery, London, Critics space Guildhall, London, Four painters |
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| 1985 |
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The Warehouse, London, with Judy Chicago’s The Dinner Party Whitespace Gallery, London, Open drawing |
| Public Art Development Trust commissions | ||
| 1989 | St Charles Hospital, London, The Five Senses, 5 photographs with and for patients, staff and visitors in the Mental Health Unit | |
| 1988 | Little High Wood Hospital, Brentwood, Diverse Fruits, 14 paintings for patients with learning difficulties, staff and visitors | |
| 1986 | St George Hospital, Essex, Anecdotal Landscapes, 4 paintings installed in outpatients waiting area | |
| Social projects | ||
| 1995 — 1997 | Priory Comprehensive School, Lewes, artist in residence | |
| 1996 |
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Stanford Junior School, Brighton, artist in residence Lewes Barbican Museum and three schools, Lewes, artist in residence |
| 1995 & 1996 | Surrey County Council, artist in residence | |
| 1991 | Oakwood Comprehensive School, Horley, artist in residence | |
| 1985 — 1987 | Shape, artist projects with people with disabilities | |
| 1985 — 1987 | Age Exchange Theatre Trust Reminiscence Project, artist projects with older people across art forms | |
| 1984 — 1985 | Durham Cathedral, artist in residence | |
| 1978 — 1979 | South Island Community Centre & Mayville Community Centre, London, artist projects with young people | |
| Awards and purchases | ||
| Work in private and public collections, including Coopers & Lybrand and London local authorities | ||
| 1996, 1994 | South East Arts | |
| 1991, 1989 | Greater London Arts | |
| 1989 | Edwin Austin Abbey Memorial Scholarship, major award | |
| 1986, 1982 | Greater London Arts | |
| Articles, films and reviews | ||
| 1997 | TV programme: The Pier, Meridian TV, interviewed for What’s for Dinner? | |
| 1988 — 1986 | Reviews: Marina Vaizey, The Sunday Times, ‘The British come in from the cold’ (October 1988); Marina Warner, Independent, ‘Anatomies of melancholy’ (27 July 1987); Kerris Blake, Women’s Review (July 1986); Sarah Kent, Time Out (February 1986, June 1986); William Feaver, Observer (June 1986) | |
| 1986 | Catalogues: The Naked City and Critics space | |
| 1984 | Film: Lives of artists, not wives of artists, by Aron, Moravietz & Rowling, Arts Council. One of five participating artists with Alexis Hunter, Tina Keane, Mary Kelly, and Paula Rego | |
| Writing <top> | ||
| 2013 | _ | 'Reassembling the Barricades', article in Engage 32, May 2013 |
| 2013 | _ | 'The Installation', fictionalised biography, Intercapillary Space: an unrolling poetry magazine based in the UK April 2013, http://www.intercapillaryspace.org |
| 2013 | _ | 'What does globalisation mean for education in the art museum?', article in It's all Mediating. Outlining and Incorporating the Roles of Curating and Education in the Exhibition Context (ed. Kaija Katiavuori, Cambridge Scholars Press, 2013) |
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'Textual Intimacies: Letters, Journals, Poetry – Ghost Writing Telegraph Cottage', with Simon Smith; article in Scenes of Intimacy: Reading, Writing and Theorizing Contemporary Literature (ed. Jennifer Cooke, Bloomsbury Academic, 2013) |
| 2012 | _ |
'Invasive Assessments, Surprise and Performing the Self in the Sketchbook', De Witte Raaf 120, Nov-Dec 2012 |
| 2012 | _ |
'Smadar Dreyfus: School', review in Art in the Public Sphere 1: 2, 2012 |
| 2011 | _ | Your Sketchbook Your Self, publisher: Tate |
| 2011 | _ | Education, publisher: Whitechapel / MIT, Documents of Contemporary Art |
| 2009 | _ | ‘Border crossing’, Tate Papers 11, April 2009 (issue co-edited with Mundy, Jennifer); revised for I-JADE (International Journal of Art and Design Education) 28.3, 2009 |
| 2008 | _ | ‘Situating gallery education’, Tate Encounters e-dition 2, February 2008 |
| 2007 |
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‘Perspectives across cultures’ (with Heald, R), Engage 20 ‘Democracy, freedom, expression: practising ideas of liberty Telegraph cottage with Simon Smith, publisher: Mindmade Press, Los Angeles |
| 2002 | _ | ‘The Hayward Gallery’s programme with the Department ofHealth’, Engage 11 |
| 2000 | _ | ‘Discovering the horizon: Felicity Allen talks to Peter Jenkinson’, The Art Book, vol. 8, issue 1, publisher: Association of Art Historians |
| 1999 | _ | ‘It’s groovy to be global’, Art Monthly, issue 224, March |
| 1998 | _ | Guest editor, Make (the magazine of women’s art) 20 year review issue |
| 1995 | _ | ‘From community arts to gallery education’ (with Clive, S), Art with People (editor Dickson, M), Newcastle |
| 1985 — 1990 | _ | Reviews published in New Statesman & Society, The Arts Business, Women’s Review |
| Education and management <top> | ||
| Management | ||
| 2003 — 2010 | Tate Britain, London, Head of Learning | |
| 1999 — 2003 | Hayward Gallery, South Bank Centre, London, Head of Public Programmes | |
| 1979 — 1982 | Air Gallery, London, Curatorial assistant | |
| 1972 — 1973 | University Press, Oxford, Personal assistant | |
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Lecturing and Research |
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2012 — current |
London South Bank University (LSBU), Visiting Research Fellow | |
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2012 |
Getty Research Institute, Guest Museum Scholar | |
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2011 |
Getty Research Institute, Guest Museum Scholar | |
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2011 |
University of the Arts, London, Camberwell School of Art, MA Fine Art | |
| 1998 — 1999 | Goldsmiths, University of London, MA Fine art administration and curatorship | |
| 1992 — 1997 | University of Sussex Centre for Continuing Education, Cultural studies certificate, team teaching, Twentieth century art | |
| 1995 | Victoria & Albert Museum, London, Practical courses tutor, part-time short contract | |
| 1994 — 1995 | Towner Art Gallery, Eastbourne, Exhibitions in context, weekly two-term courses offering practical and history classes with current exhibitions, repeated over two years | |
| 1991 — 1994 | University of East London, School of Fine Art, external examiner in Painting | |
| 1988 — 1991 | Winchester School of Art (Southampton University), BA Fine art special options: Public art, Exhibitions studies, European studies | |
| 1987 — 1988 | Goldsmiths, University of London, BA Fine art | |
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1995 — 2006 visiting |
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City University, London, MA Arts management Royal College of Art, London, MA Curating and commissioning contemporary art University of Sussex, Arts management certificate |
| Consultancy | ||
| 2011 | PEER, London, evaluating PEER Participate programme | |
| 1998 — 1999 | Modern Art, Oxford, researching and developing plan for integrated education and exhibition programmes | |
| 1998 | British Library, London, providing materials and training about BL art collection for staff | |
| 1997 |
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South East Arts, Education and Training, researching and developing artists’ training programme Pallant House Gallery, Chichester, researching and developing plan for integrated education and exhibition programme; providing materials and training for teachers |
| 1997 |
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Arts Training South, professional development programmes |
| 1996 — 1997 |
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South East Arts, Education and Training, monitoring and evaluating Artists in Schools in East Sussex |
| 1995 — 1996 |
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East Sussex County Advisory Service, professional development for teachers |
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Recent presentations |
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| 2013 |
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Whitechapel Gallery, Education: Politics and Practices devising and presenting a seminar series with invited speakers ICA London, Platform in conversation with Sophie Hope |
| 2012 |
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'Practice, Dialogue and Nahnou-Together', Approaches to Trust-building in the Context of Divided Beirut symposium with University of Kent & the Lebanese University 'Surprise, performance and education in the sketchbook', Old School New Class symposium, Ghent 'Process in Three Directions', research seminar, LSBU 'Practice and Dialogue', research seminar, University of Kent 'Branded Speech: what does globalisation mean for education in the art museum?', lecture, Otis College of Arts Los Angeles 'Progress: the Age of Reflection', lecture, Azusa University California 'Apart of the Art World', lecture, The Prince's Drawing School Lectures & Film Programme 'Branded Speech', Face to Face: Visual Cultures and Radical Distrust in the Middle East,B Kent University with October Gallery, London |
| 2011 |
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Engaging, Creating: Residencies in Public Spaces, Sackler Conference, V&A, London The Sketchbook Conference, Access Art, Cambridge |
| 2010 |
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Writings of Intimacy (with Simon Smith), conference, Loughborough University Air Iomlaid / On exchange, seminar, Fruitmarket Gallery, Edinburgh |
| 2009 |
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Creating the global image archive, conference, University of London Goldsmiths The pedagogical intersection of contemporary art and Museum management and practices, seminar, British Guggenheim International Art Museum Education Forum, Guggenheim, New York |
| 2006 |
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Dialogical practices, conference, ‘Democracy, freedom, expression: practising ideas of liberty and representation in gallery education’, Museu d’art modern I contemporani de Palma Albers and Moholy-Nagy: the imperative of teaching, seminar, Tate Modern, London |
| 2005 |
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The institute and the experiment, keynote paper, Engage annual conference, Arnolfini, Bristol |
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Professional development <top> | |
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Management |
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2011 |
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Facilitating Action Learning Sets, ILM accredited |
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2010 2009 |
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Team coaching with a solutions focus Clore leadership short course |
| 2004 |
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Runge leadership course Managing multiple priorities Performance management |
| 2003, 1999 |
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Managing for managers |
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Evaluation |
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| 2007 |
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Evaluating the impact of arts and cultural education, Centre Pompidou, Paris |
| 1998 |
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Researching audience development in museums and galleries, SEMS |
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Negotiations |
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| 2007 |
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Braver conversations |
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Negotiating skills |
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Presentation |
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| 2007 |
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Presentation is performance |
| 2001 |
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Presentation for broadcast skills |
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Memberships and voluntary work |
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| 2009 — current |
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Member of AICA (the International Association of Art Critics) Member of an Action Learning Set Trustee of PEER Member of AHRC Peer Review College until 2011 |
| 2007 — 2009 |
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Member of Museums Review editorial advisory panel |
| 1997 |
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Arts Council of England Arts for Everyone Lottery Fund, |
| 1994 |
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Arts Council of England appraisal team member for Museum |
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Education |
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| 1982 — 1984 |
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Slade School of Art, London. Higher Diploma in painting (equivalent MA /MPhil) |
| 1973 — 1977 |
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Exeter University BA Hons in English / Fine art |