香港六合彩中特网

Research

Cadence is interested in constructions of subjectivity and identity in the contemporary period, in particular examining the ways art both reflects and mediates relationships between the body and technology, the individual and the social, and different vectors of identification.

Focusing on art works produced between 2008 and 2016 in Europe and the US, Cadence鈥檚 book Walled Gardens: Autonomy, Automation, and Art After the Internet (OUP, 2021) situates the emergence of what has come to be known as 鈥榩ost-Internet art鈥� in a historical context of global economic downturn and climate catastrophe, positing that new Internet technologies were developed in a mutually co-constitutive relationship with crisis. Strikingly, many artists have chosen to work with rather than against these technologies and, in so doing, perform complicity with the very structures that they seek to interrogate. Walled Gardens asks how we might make sense of this assimilation with proprietary technologies, and argues that what these artworks reveal is a model of subjectivity conditioned by a dynamic between autonomy and automation.

Cadence is currently working on a new research project looking at the problem of social class within contemporary art. Despite the fact that an analysis of social class can offer a profound and powerful approach to thinking about society, identity, and belonging, the discourses of social class have yet to be fully opened up in the context of contemporary art. This is perhaps especially surprising given that the frameworks for understanding class have shifted radically in recent years, particularly in the UK, where the traditional formulations of 鈥榰pper鈥�, 鈥榤iddle鈥� and 鈥榣ower鈥� have given way to new concepts such as 鈥榯he precariat鈥� and 鈥榚mergent service workers鈥�. While such concepts have helped to illuminate the structure of artistic labour as fundamentally precarious, their usage often attends neither to the cultural, emotional, and social dimensions of class nor to its affective dimensions and how it plays out in the formal dynamics of contemporary art. Seeking to re-centre thinking about social class alongside other vectors of identification, this project will consider the following questions: How do questions of social class bear upon the contexts that artists operate within? How is class figured through specific material practices and formal dynamics in contemporary art? And to what extent can we understand class as a category of (dis)identification, particularly in the context of thinking about models of artistic subjectivity?

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Selected Publications

Books

Walled Gardens: Autonomy and Automation in Art After the Internet (Oxford: Oxford University Press, October 2021)

Journal articles

鈥楩luid Dynamics: On the Representation of Water and Discourses of the Digital鈥�, Art History, Vol.43, issue 3 (June 2020), pp.510-537

鈥楤lind Windows鈥� History of the Human Sciences special issue: 鈥楾otal Archive鈥�, vol. 31, no.5 (2019), pp.154-182

鈥楽trange Bodies, Artalk Revue special Issue 鈥楧iagnosis鈥� No.2 (Summer 2018)

鈥楳atrices of Embodiment: Re-Thinking Binary and the Politics of Digital Representation鈥�, Signs: Journal of Women in Culture and Society, Vol.39 (2014), pp.897-925 [shortlisted for Catharine Stimpson Prize for Outstanding Feminist Scholarship]

Chapters

鈥榃hy Art History Hates Timelines (Especially on the Blockchain)鈥� in Catlow, R. & Rafferty, P. (eds) Radical Friends, Decentralised Autonomous Organisations and the Arts ([no place]: Torque Editions, 2022), pp. 247-250

鈥楢rchetype and Authenticity鈥� in Ulfsdotter, B. & Backman Rogers, A. (eds.) Female Authorship and the Documentary Image (Edinburgh: Edinburgh University Press, 2018), pp.23-37

鈥楬ow Close do You Want Me to Be: Kate Craig鈥檚 Delicate Issue鈥� in Rawes, P., Loo, S. & Matthews, T. (eds.) Poetic Biopolitics (London: I.B. Tauris, 2016), pp.46-62

鈥楤eing Visible鈥� in Burbridge, B. (ed) Photoworks Annual: Photography, Art, Visual Culture, Issue 22 鈥榃omen鈥� (London: Photoworks, 2016), pp. 82-95

鈥楶ost-media/Post-medium: The Impact of Technology on the Ontology of Painting鈥� in Apprich, C., et al (eds.) Provocative Alloys: A Post Media Anthology (London & L眉neburg: Leuphana Universit盲t L眉neburg & Mute, 2014), pp.68-83

Essays

鈥楢ndesite: Miriam Austin鈥�, w/Thomas Morgan Evans Bosse & Baum (December 2020)

鈥楢 Priori / Post Hoc鈥� in I was Raised on the Internet exh. cat. (London & NY: Prestel and MCA Chicago, 2019), pp.61-72

鈥楥ache鈥� in Sickly Revelations exh. cat. (London: OH and Cornerhouse publishing, 2016)

, BBC Culture (March 2016)

鈥楪yre鈥�, New Feminisms series, Arty膷ok (March 2015)

, DisMagazine (November 2014)

, MetaMute (Nov 2012)

鈥楾oward Embodiment鈥� in The Body in Women鈥檚 Art Now, Part 3: ReCreation exh. cat. (London: Rollo Gallery Publications 2011), pp.19-30

鈥楤ody Architectures, Cellular Identities and Online Representation in the Work of Helen Carmel Benigson鈥� in Helen Carmel Benigson exh. cat. (London: Rollo Gallery Publications 2011), pp.18-31

Book reviews

Eva Respini Art in the Age of the Internet. Sculpture Journal, Vol.29, no.1 (January 2020), pp.109-111

Amelia Jones Self/Image: Technology, Representation and the Contemporary Subject. Object, No. 10 (2007/2008), pp.130-132

Teaching and Supervision

Cadence teaches undergraduate modules on the histories of performance and art and technology, including:

Action/Re-Action
Art or Science?
Art After the Internet

She also teaches an MA special subject entitled 鈥楾oil & Trouble: Feminism and Contemporary Art Now!鈥�

Cadence is interested in supervising doctoral students working in the histories of performance, art and technology, social class, questions of gender and subjectivity.

Prospective students should contact her directly to discuss their proposals at: cadence.kinsey@ucl.ac.uk

Current PhD Students:

Zaena Sheehan, 'Porous Bodies: Ecologies of Matter in Contemporary Art鈥�

Amber Husain, 'Psychosomatics of Refusal: British art and biopower, 1982鈥�1998鈥�

Cora Chalaby, 'Indeterminacy and Painting: Helen Frankenthaler, Alma Thomas, Joan Mitchell'

Emily McFarlane, 鈥楥ybersomatics: Functions of the Flesh in Cyberfeminist Art鈥�

Katherine Whittell, 'Clear Boundaries: Interfaces and Art from 1965 鈥� 2019'

Past Research Students:

Gabe Beckhurst, 鈥楲eave No Trace: Incongruous Environmental Affiliations in American Art since 1970鈥�

Francesca Curtis, 鈥極bserve, Submerge, Speculate: Contemporary Art and the Ocean Beyond the Visible鈥�

Biography

Cadence is Associate Professor of Contemporary Art at University College London. She received her PhD from 香港六合彩中特网 in 2012, following which she taught at the Courtauld Institute of Art, the Slade School of Fine Art, and Imperial College London. She was a British Academy Postdoctoral Fellow for three years before taking up post as Lecturer in Recent & Contemporary Art at the University of York in 2016. She returned to join the History of Art department at 香港六合彩中特网 as a permanent member of staff in 2019. Cadence also holds a Diploma in Fine Art Foundation from UAL and a professional horticulture qualification. She runs her local community garden.