{"id":28,"date":"2014-04-01T16:52:11","date_gmt":"2014-04-01T16:52:11","guid":{"rendered":"https:\/\/nancyannroth.com\/?page_id=28"},"modified":"2022-03-26T16:45:41","modified_gmt":"2022-03-26T16:45:41","slug":"cv","status":"publish","type":"page","link":"https:\/\/nancyannroth.com\/?page_id=28","title":{"rendered":"CV"},"content":{"rendered":"\r\n
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NANCY ANN ROTH<\/strong><\/p>\r\n\r\n\r\n\r\n

nancy [underscore] roth at fastmail dot com<\/p>\r\n\r\n\r\n\r\n

+44 (0) 7534 ) 617291<\/p>\r\n<\/div>\r\n<\/div>\r\n\r\n

 <\/p>\r\n

PROFESSIONAL EXPERIENCE (Teaching, Translation, Academic Papers, Criticism)<\/strong><\/p>\r\n

Teaching<\/em>:<\/strong><\/p>\r\n

1996 – 2014 Falmouth University [formerly University College Falmouth], Senior Lecturer: BA (Hons) Fine Art, Critical Studies. 2004-2011 Joint Course Leader\/Award Leader, MA Photography<\/p>\r\n

1995-96 Department of History of Art, University of Manchester. Lecturer. (Sabbatical Replacement Post)<\/p>\r\n

1993-95 Walker Art Center (Minneapolis). Acting (part-time) Director for Adult Education.<\/p>\r\n

1989-92 University of Wisconsin-Stout, Menomonie, Wisconsin. Assistant professor, Department of Art and Design<\/p>\r\n

Translation<\/em>:<\/strong><\/p>\r\n

2019 Lambert Wiesing, Luxury<\/em>, London: Routledge, 2019 ((Luxus<\/em>, Berlin: Suhrkamp, 2015).<\/p>\r\n

2016 Lambert Wiesing, The Visibility of the Image: History and Perspective of Formal Aesthetics<\/em>, London: Bloomsbury (Die Sichtbarkeit des Bildes. Geschichte und Perspektiven der formalen \u00c4sthetik<\/em>, Campus Verlag, 1997, 2008).<\/p>\r\n

2014 Lambert Wiesing, The Philosophy of Perception: Phenomenology and Image Theory<\/em>, London: Bloomsbury (Das Mich der Wahrnehmung <\/em>(Berlin: Suhrkamp 2009).<\/p>\r\n

2014 Vil\u00e9m Flusser, Gestures<\/em>, Minneapolis: University of Minnesota Press, (Gesten: Versuch einer Phanomenologie, <\/em>Bollmann, 1991).<\/p>\r\n

2011 Vil\u00e9m Flusser (2011) Into the Universe of Technical Images<\/em> and Writing: Does Writing Have a Future<\/em>? Minneapolis: University of Minnesota Press (1985) (Ins Universum der technischen Bilder, 1985<\/em> and Die Schrift: Hat Schreiben Zukunft?<\/em>, 1987, European Photography: G\u00f6ttingen).<\/p>\r\n

2011 Vil\u00e9m Flusser, “The Gesture of Photographing,” The Journal of Visual Culture<\/em> 10:3, December, 2011, 279-293<\/p>\r\n

Academic Papers:<\/em><\/strong><\/p>\r\n

(2021) “Games and Play: On Being Human in the Universe of Technical Images,” 57-66 in Understanding Flusser, Understanding Modernism<\/em>, Aaron Jaffe et al., eds., New York: Routledge.<\/p>\r\n

(2019) “Out of Language: Photographing as Translating,” Routledge Companion to Photography Theory<\/em>, London: Routledge.<\/p>\r\n

(2018) “The Protreptic Writer”<\/a>, Flusser Studies 25,<\/em> May, 2018.<\/p>\r\n

(2014) “Mira Schendel’s Gesture: On Art in Vil\u00e9m Flusser’s Thought,” with “Mira Schendel” by Flusser http:\/\/www.tate.org.uk\/research\/publications\/tate-papers\/issue-21<\/a><\/p>\r\n

(2012)\u00a0 “A note on ‘The Gesture of Writing’ by Vil\u00e9m Flusser,” 24-25 in New Writing: The International Journal for the Practice and Theory of Creative Writing <\/em>9:1 (March), Taylor and Francis.<\/p>\r\n

(2012) \u00a0\u201cVisual Consciousness: the Impact of New Media on Literate Culture\u201d (on Vil\u00e9m Flusser and Visual Culture), 326-341 in\u00a0The Handbook of Visual Culture<\/em>, eds. Barry Sandywell, Ian Heywood, Oxford: Berg Publishers.<\/p>\r\n

(2011)\u00a0 Introduction and translation of Vilem Flusser, “The Gesture of Photographing”: 279-293 IN: Journal of Visual Culture<\/em> 10 (3), December<\/p>\r\n

(2011) “The Photographer’s Part,” Flusser Studies 10<\/em>(flusserstudies.net<\/a>), November, 2011]<\/p>\r\n

(2010) \u201cKamaraden und Kohlk\u00f6pfe: John Heartfield im Universum der technischen Bilder,\u201d [Comrades and Cabbageheads: John Heartfield in the Universe of Technical Images]\u00a0in Medien Denken<\/em>, Bielefeld: Transcript Verlag, June, 2010.<\/p>\r\n

(2010) \u201cWriting as Pretext: On the Way to an Image,\u201d 256-264 IN:Arts and Humanities in Higher Education 9(2) <\/em>June 2010<\/p>\r\n

(2006) \u201cHeartfield’s Collaboration,\u201d 395-418 IN: Oxford Art Journal<\/em> 29,3.<\/p>\r\n

(2005)\u00a0 Three entries for Oxford Companion to the Photograph<\/em> \u201cPainting and Photography,\u201d\u00a0 \u201cPhotography Criticism\u201d \u201cRichard Billingham,\u201d\u00a0 Oxford: Oxford University Press.<\/p>\r\n

(1989) “L’Artiste and l’art pour l’art: the New Cultural Journalism in the July Monarchy,” Art Journal<\/em> 48, no. 1 (Spring) 35-39.<\/p>\r\n

(1985) “Electrical Expressions: the Photographs of Duchenne de Boulogne,” in Multiple Views: Logan<\/em> Grant Essays on Photography, 1983-1989<\/em>, University of New Mexico Press, 1991. First published in Views: The Journal of Photograph in New England<\/em>, 6:2, special issue.<\/p>\r\n

CRITICISM <\/strong>(selected):<\/p>\r\n

(2006-present) Short reviews of current photographic exhibitions and recently-published books, commissioned by Source<\/em> Magazine (Belfast), including: Co-illusion: Dispatches from the End of Communication<\/em> by\u00a0<\/span>David Levi Strauss, Susan Meiselas & Peter van Agtmael
\u00a0“Human-Machine Integration” (Drone: The Automated Image. \u00a0Le Mois de la Photo 2013<\/em>), 78: 66-67. “Public Memory,” (Daniel Blaufuks at Ffotogallery, Cardiff, Source<\/em> 70: 58-59; Wendy McMurdo at Ffotogallery, Cardiff, Source<\/em> 58: 58-9. Danny Treacy, \u201cThem,\u201d Photographer’s Gallery, London, Source 55<\/em>; 56-57.\u201cRather Like Memory\u201d (Hans-Peter Feldman at the Arnolfini, Bristol,) Source 54: 54-55<\/em>. \u201cA Poetic Heap of Garden Tools,\u201d (Review of Threefold Sun) Source<\/em> 53: 70-72 \u201cInhabiting an Inhuman Situation,\u201d Source<\/em> 52: 54-55; exh. cat. Dutch Dare: Contemporary Photography from the Netherlands<\/em>, Source<\/em> 51; exh. cat Victor Burgin, Voyage to Italy<\/em>, Source<\/em> 51,\u00a0 \u201cNorth of Morocco,\u201d review of exhibition: Tim Brennan at Spacex, Exeter, Source<\/em> 50, Spring, 52-3<\/p>\r\n

(2008) \u201cPhotographic Migrants: John Goto’s West End Blues,\u201d Flusser Studies<\/em>,\u00a0flusser-studies.<\/em> 07 (November, 2008) , available at http:\/\/www.flusserstudies.net\/pag\/archive07.htm. Reprinted as 4-10 IN: Activate<\/em> 5 (2009), London Metropolitan University, The Sir John Cass Department of Art, Media and Design.<\/p>\r\n

(2008)\u00a0 \u201cReflections on the Future of History: John Goto’s A Dance to the Musik of Time,\u201d Eyemazing <\/em>03\u2014(Amsterdam) Gallery 36-45.<\/p>\r\n

(2005) \u201cCollaboration and Originality\u201d (catalogue essay on artistic collaboration, accompanying exhibition of work by Mark Dunhill and Tamiko O’Brien) 8-12 IN: Sculptomatic<\/em>, Bristol: Dunhill and O’Brien.<\/p>\r\n

(2004) \u201cMark N.B. Hansen: New Philosophy for New Media, Foreword by Tim Lenoir.\u00a0 Cambridge: MIT Press, 2004\u201d Review. IN European Photography <\/em>76, Fall\/Winter, 74.<\/p>\r\n

(2004) \u201cFlusser, at Last\u201d (2004) Review of Vil\u00e9m Flusser (2003) Writings<\/em>, Andreas Str\u00f6hl, ed. IN: Oxford Art Journal<\/em> 27:3, 433-435<\/p>\r\n

(2002) \u201cTeamworks\u201d (Review of Charles Green, The Third Hand: Collaboration in Art from Conceptualism to Postmodernism<\/em>) Oxford Art Journal<\/em> 25:2, 174-5.<\/p>\r\n

(2000) \u201cCloseness as Metaphor\u201d (Review of Richard Billingham retrospective, Ikon Gallery, Birmingham), Afterimage<\/em> 28:2 (September-October 2000) 13-14.<\/p>\r\n

(1999) \u201cThe McLuhan Effect,\u201d Afterimage <\/em>27:2 (June-July), 9-11.<\/p>\r\n

(1997) \u201cA Figure Against a Ground: Moholy at 100,\u201d (Feature based on centenary books on Lazlo Moholy-Nagy, Afterimage<\/em> (Rochester, New York, July-August, 13-15.<\/p>\r\n

(1985-89) Independent Writer\/Researcher. Contractual writing, research, editing and\u00a0translation,\u00a0 including: art and photography criticism: Aperture <\/em>(N.Y.),\u00a0 Afterimage <\/em>(Rochester, N.Y.); Artpaper<\/em> (Minneapolis), Minneapolis correspondent for Art News <\/em>(N.Y.), 1986-87. Translation editing, G.K. Hall, Publishers, Sources and Documents of <\/em>German Expressionism<\/em>, an anthology of texts from 1907-1933.\u00a0 Professors Rose Carol\u00a0Washton-Long (C.U.N.Y., New York)\u00a0 and Ida Rigby (SDSU,San Diego), eds.<\/p>\r\n

EDUCATION<\/strong><\/p>\r\n

B.A. (1973) University of Minnesota .\u00a0 Major: German; Minor: History<\/p>\r\n

M.A. (1984) University of Minnesota.\u00a0 Major: Art History. Minor: Studio Arts<\/p>\r\n

Ph.D. (1996) The Graduate Center, City University of New York. \u00a0Major:\u00a0 European Painting and Sculpture, 1860 \u2013 present.\u00a0 Minor: Photography. \u00a0Dissertation: “The Politics of Collaboration: Brothers, Friends, the Party and\u00a0the Performance of John Heartfield, 1915-1938”<\/p>\r\n

HONORS AND AWARDS<\/strong> (selected).<\/p>\r\n

2017. Editorial Board, Flusser Studies (on-line journal, flusser-studies.net)<\/p>\r\n

2014. Proposal reviewer for the Social Sciences and Humanities Research Council of Canada.<\/p>\r\n

2011. \u00a0Invited participant in Digital Hybridity<\/em>, a research project organized through D-MARC (Digital and Material Arts Research), University of Derby, 1 April – 17 June.<\/p>\r\n

2010. \u00a0Appointment as External Examiner for MA Photography,\u00a0a new course at Harrogate College.<\/p>\r\n

2004 \u00a0 Advisory Board of Flusser Studies<\/em>, on line academic journal devoted to the scholarly study and development of Vil\u00e9m Flusser’s philosophy.<\/p>\r\n

1991 \u00a0National Gallery of Art, Washington, D.C. Criticism Conference Fellowship. (One of 24 fellows selected nationwide to participate in a national forum for art critics, a component of the National Gallery’s 50th anniversary celebration)<\/p>\r\n

1984 \u00a0Boston University. 1984 Reva and David Logan Grants in Support of New Writing in\u00a0Photography (a prize competition; jurors Beaumont Newhall, Ben Lifson). For \u201cElectrical Expressions: the Photographs of Duchenne de Boulogne\u201d.<\/p>\r\n

CONFERENCES\/EVENTS<\/strong><\/p>\r\n

Invited Speaker, Remediating Flusser<\/em>, conference at University of Connecticut (USA), 1-3 November 2013.<\/p>\r\n

Invited Speaker, Mira Schendel Conference<\/em>, Tate Modern, 16-17 November, 2012<\/p>\r\n

Keynote speaker,\u00a0Extending Gesture<\/em>, a conference organized by research students at the University of Edinburgh, 26-28 October 2012.<\/p>\r\n

Speaker: “Beyond Representation: Photography, Humans & Computers,” Southbank University, London,\u00a024-25 May, 2012.<\/p>\r\n

Invited Speaker: “Translation for a Recovered Text,” talk on new work by Lucy Skaer, “Film for an Abandoned Projector,” Pavillion, Leeds, 20 October, 2011.<\/p>\r\n

Invited Speaker: \u201cThe Gesture of Photographing,\u201d annual conference of Association for Photography in Higher Education,\u201d Newcastle, 8-9 September 2011.<\/p>\r\n

Presenter: \u201cOn Vil\u00e9m Flusser’s \u2018Into the Universe of Technical Images,’\u201d RNUAL Block 3: Research Student First Year Symposium 28 June \u2013 2 July 2010, University of the Arts London.<\/p>\r\n

Erasmus teaching visitor, Universit\u00e4t der K\u00fcnste,Berlin, 14-21 July, 2009.<\/p>\r\n

Presenter: \u201cStudio Acoustics\u201d in session The Teaching Studio<\/em>, Association of Art Historians, Tate Britain, 2-4 April, 2008<\/p>\r\n

Presenter: \u201cTo Play Against the Apparatus: John Heartfield in Prague 1933-1938, Vil\u00e9m Flusser: Macht und Moderne<\/em> (Symposium: Vil\u00e9m Flusser) Goethe-Institut Prague, 12-14 November 2007<\/p>\r\n

Presenter: \u201cWriting Practice,\u201d Models and Modes of Creative Practice, Institute for Advanced Study, Lancaster University, September 19, 2006.<\/p>\r\n

Respondent, \u201cEstranged Realities,\u201d Newport School of Art, Media and Design, 29-30 June, 2006.<\/p>\r\n

Presenter, \u201cProject-Based Fine Art Curriculum\u201d, University of Wales, Cardiff, [a by-invitation symposium for BA (Hons) Fine Art Department staff preparing to rewrite their own curriculum], March, 2006<\/p>\r\n

Presenter, \u201cThe BA Dissertation at Falmouth,\u201d Writing PAD, Central St. Martins, September 2005.<\/p>\r\n

OTHER QUALIFICATIONS:<\/strong><\/p>\r\n

2007. SEDA PDAF Award, Supervising research degrees for professionals in art, design and communication, <\/strong>University of the Arts, London.<\/p>","protected":false},"excerpt":{"rendered":"

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