Felicity Allen

I work across the studio, the social and the institutional. My 2016 PhD developed the concept of the ‘Disoeuvre’ (my neologism, see http://eprints.mdx.ac.uk/view/creators/Allen=3AFelicity=3A=3A.html) heralding the start of a 10-year cross-media project (e.g. see Visual Resources [34: 3-4, 2018]), with European exhibitions and publications planned for 2019.
Making series of Dialogic Portraits, I contribute to the interdisciplinary research project, People Like You (https://peoplelikeyou.ac.uk/), and to Refugee Tales (http://refugeetales.org/). A previous series, Begin Again produced a 2-volume artists book Begin Again nos 1-21 (2014, held by Tate and the Getty). Another series was completed by the film As If They Existed (2015, Turner Contemporary). I recently produced a film Eleven Impediments (2018) for anonymised UK-based artist Clare Lite and Damascus-based artist AMAL ANON, from a four-year multimedia epistolary exchange.
Other recent productions include ‘Erasure, Transformation and the Politics of Pedagogy: a feminist artistic/curatorial practice’ in Buszek’s & Robinson’s A Companion to Feminist Art, Wiley Blackwell (2019) and Education (Documents of Contemporary Art, Whitechapel/MIT 2011). A founder member of the Women’s Art Library, 1978-83, I was Engage’s first director and founding editor of its journal, Engage. I lecture internationally in higher education, previously leading education departments for the Hayward and for Tate.

How the Clore course impacted me

A short-term impact was helping me make the transition from institutional employment to resuming an independent artistic practice. A longer term impact has been to clearly identify different aspects of work that I need to attend to in order to promote my career.

How I am using my skills for change

When I undertook the programme (in 2010) I decided that I would think in terms of exchange rather than change, and I have continued to do this.