Dr Kit Messham-Muir

Dr Kit Messham-Muir

Senior Lecturer

School of Creative Arts (Fine Art)

Reflections on war and visual culture

Dr Kit Messham-Muir is fascinated by what most of us would consider the darkest area of visual art – the work of the war artist, the conflict photographer, and the memorialist.

Dr Kit Messham-MuirDr Messham-Muir is an art theorist and collaborator at the University of Newcastle's (UON) world-first Centre for the History of Violence. The Centre aims to advance humanity's understanding of violence and conflict through new research. Members of the Centre explore all aspects of the history of violence including concepts of violence, representations of violence, and issues of political and cultural violence.

In his recent book, Double War: Shaun Gladwell, visual culture and the wars in Afghanistan and Iraq, Dr Messham-Muir offers new theoretical perspectives on the visual culture of war by investigating the work of Australian war photographer Shaun Gladwell.

"I'm both fascinated and repelled by war but I am naturally a pacifist. It is the visual culture of war that I find interesting; the images and the work of the war photographer. It's a powerful and perhaps sometimes even exhausting area to research."

The book follows on from Dr Messham-Muir's previous research looking at the ways in which conflict and violence are interpreted in Holocaust museums, particularly the role of emotion in museum displays.

"Holocaust museums often make powerful emotional connections with visitors. They draw on particular strategies, such as using dark spaces and evocative artefacts, to convey the emotional narrative of the Holocaust. My research studied how images and objects can strongly affect people. I'm fascinated by the emotional power of all images, not just art, but in the news media, movies, television, and this is what I continue to research."

Extending upon his research into war and visual culture, Dr Messham-Muir is now working with the Australian War Memorial on plans for an exhibition and a book about contemporary Official War Artists, such as Ben Quilty and Shaun Gladwell. 

As a teacher, Dr Messham-Muir is also the recipient of several teaching awards. He recalls his own experiences as an undergraduate art student in Sydney as being instrumental in informing the way he teaches today.

"As an undergraduate painting student I didn't see how art history was relevant to me, but when I tried to set out as a practicing artist I realised how much I'd missed by thinking that way. After I did my PhD in art history and theory I wanted my own students to see how interesting and important theory is. So my teaching is about engaging the students in ideas around art and culture so they understand how they fit into the larger art world."

Dr Messham-Muir recently took a group of undergraduate students to Los Angeles and New York, not only to teach the significance of collections at the Getty, LACMA, MOMA and the Met but also to meet internationally successful artists in their studios.

"One of the artists they met was Ian Burns who is a UON graduate. He's lived in New York for nearly 20 years and I wanted them to meet someone who had been through our program and was now practising in New York and enjoying an international career. I try to introduce them to the people that I've connected with overseas over the years, who can give them real practical advice, like how to approach commercial galleries, how to sustain a career, how to be a successful studio artist in tough art world."

During his career, Dr Messham-Muir has received three excellence awards for teaching, authored two publications on visual culture, published fifteen articles in The Conversation, and founded a successful video series on YouTube with over 43,000 views.  

Find out more about Dr Messham-Muir's book, Double War: Shaun Gladwell, visual culture and the wars in Afghanistan and Iraq'

Find out more about our Fine Arts Degree

Link to interview with Shaun Gladwell

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Dr Kit Messham-Muir

Reflections on war and visual culture

Dr Kit Messham-Muir is fascinated by what most of us would consider the darkest area of visual art – the work of the war artist, the conflict photographer...

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Art, theory and warfare

Dr Kit Messham-Muir is an art theorist and museologist in the School of Creative Arts at the University of Newcastle whose current research focus is the psychological and emotional dimensions of visualising war.

Dr Kit Messham-Muir 

"We get lots of images of war from overseas, which is primarily the domain of the media. We get to know war through embedded journalists in war zones who are after particularly impactful sound bite versions of the situation – because that's what news is," explains Messham-Muir.

"When an artist goes into war they look at it differently."

His soon-to-be–released book, Double War: Shaun Gladwell, visual culture and the wars in Afghanistan and Iraq, looks at the work of official war artist Shaun Gladwell in relation to the wars in Afghanistan and Iraq.

"The artist's mission is not to simply record, but to consider in a subjective way, over a long timeframe, and respond," said Messham-Muir.

It is this, Messham-Muir believes, that provides the public with an all-important different view of war.

Drawing from many hours of interviews between Gladwell and Dr Messham-Muir, Double War explores Gladwell's Afghanistan work, placing it within the context of the visual culture, technology and politics of contemporary war. 

The book combines primary research of interviews with Gladwell over a period of a year with current critical debates on art and visual culture.

It is due to be released with Gladwell's survey exhibition and commission at UNSW Art & Design Gallery and the Sherman Contemporary Art Foundation in March 2015.

Art is just another way visually or materially articulating ideas that doesn't have to follow strictly scientific or systematic ways of thinking.

Messham-Muir plans to follow-up this work on the use of images during the war on terror by looking at the ongoing use of imagery in warfare and terror.

"I will be looking at where some contemporary images of terror originate, and will deal with some horrific imagery – I actually recoil from those kinds of images on a personal level, but as an academic, I'm also fascinated by why that might be."

"With images of beheadings in the media recently, we can trace the western world's fear of those images back to European orientalist paintings, like Henri Régnault's Summary Execution under the Moorish Kings of Granada, from 1870, which hangs in the Musée d'Orsay in Paris.  The painting is of a middle-eastern man wiping the blood off his sword with a decapitated head on the floor in front of him.  The important this is, it is painted by a European for a European audience.  It's a western construction of the middle east, for consumption of the west."

"This ongoing history of these kinds of images of the middle east, as a place to be feared, is played-out in contemporary warfare, like the current conflict with ISIS. We're seeing them actually take on board how the west's historical fear of the middle east is articulated through imagery, and to use it to maximum effect to shock."

This work links Messham-Muir's research with the University's Centre for the History of Violence – of which he is a member.

While Messham-Muir's research is primarily concerned with affect and interpretation, he is also passionate about encouraging people to connect with art.

"I came from Wrexham, a very working class town in North Wales, and when I was growing up there, art wasn't very highly valued. But, I had an excellent teacher who opened art up for me and helped me understand that it isn't this middle-class rarefied thing – it is actually dealing with ideas, it's a different way of thinking. Ever since then, the thing that motivates me is trying to find ways for other people to also see similar value in art."

In August 2014, Messham-Muir wrote a piece for online media outlet The Conversation titled: Three questions not to ask about art – and four to ask instead.

Over 80,000 people have read the article, and it will be included in The Conversation's year book, to be released in 2015.

"The readership of the article proved the very thing that motivated me to write it in the first place – that the vast majority of people feel a sense of alienation and disconnection from art, but they're still curious.  They still want to find a way in, to understand it." said Messham-Muir.

"Art is just another way visually or materially articulating ideas that doesn't have to follow strictly scientific or systematic ways of thinking," he explains. "I think that's one of the most amazing things about art – it validates a very subjective way of thinking."


Studio Crasher

StudioCrasher is an ongoing video project launched  by Messham-Muir in late 2012. He interviews artists about their practice, as well as curators, critics and academics.

Messham-Muir's StudioCrasher YouTube channel is a rich knowledge sharing resource that can be used for teaching and research by anyone. It brings art students into contact with real practicing artists, curators and writers who they would otherwise not be able to access.

The video recordings in the StudioCrasher project aims to answer a fundamental question: what actually is contemporary art practice? Interviews are extended and in-depth critical inquiries into the practice of artists, curators and writers engaged in contemporary art discourse. Commentaries provide critical reflection on contemporary art exhibitions and debates.

It's extremely important for visual arts students to be exposed to real-life contemporary art practice. StudioCrasher is building a unique strong repository of interviews available to students and other academics, which will be valued for years to come. This is truly innovative teaching - no one else is doing this.

- Dr Uros Cvoro, Senior Lecturer in Art History and Theory, College of Fine Art, University of New South Wales

Art, Theory and War - Dr Kit Messham-Muir

Art, theory and warfare

Dr Kit Messham-Muir is an art theorist and museologist in the School of Creative Arts at the University of Newcastle

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Career Summary

Biography

I was born in Wrexham, North Wales, and emmigrated to Australia in 1990 to study Painting at Sydney College of the Arts, The University of Sydney. I graduated with a Bachelor of Visual Arts, Honours Class 1 in 1995. I began researching for my PhD in the School of Art History and Theory at the College of Fine Arts, University of New South Wales, I completed in three years and received a Doctor of Philosophy Degree in 2000. I have lectured at the College of Fine Arts, University of New South Wales, The University of Western Sydney, The University of Sydney and the University of Hong Kong. I managed the NSW State Government's funding of museums, galleries and the Western Sydney Arts Strategy for three years, before returning to academia in 2008, as a lecturer in Art History at The University of Newcastle. I currently live in Newcastle, Australia with my wife Loretta, a corporate trainer and coach, and two dogs and two cats. I play the piano and guitar, and used to fly planes for fun, until it wasn't fun anymore.  

Research Expertise

I have a strong track record of published research, including books, peer-reviewed journals, articles in popular press and videos.  My area of research interest is in images and conflict, which often focuses on the visual culture of art and contemporary warfare, and museology.  

I have in excess of 100 research outputs consisting of:

  • 2 books (1 authored and 1 edited)
  • 5 book chapters (1 recently accepted for publication)
  • 8 articles in peer-reviewed journals 
  • 54 reviews and other articles
  • 17 catalogue essays 
  • 39 conference and symposium presentations
  • 39 video productions
  • 2 exhibitions of creative work

Over the last 15 years, I have worked at the intersections of scholarly art and museum theory and the museum and gallery industry.  My most significant overall contribution has been to link theory to practice in this field in very real ways.  My research is emphatically guided by practice – by what artists do in their studios, what curators do in museums and galleries – and this is why my research frequently involves working closely with these practitioners, particularly interviewing them (StudioCrasher video project), collaborating with them (Gladwell at SCAF) and engaging them in ways aimed at mutually sharing ideas (at conferences with Museums Australia, Art Association of Australia and New Zealand, and College Art Association).  

My PhD research (1996-2000) considered the role of affect and emotion in the museum and gallery ‘culture wars’ in the United States in the 1990s, as well as the controversy surrounding Andre Serrano’s photographic work, Piss Christ, when it was exhibited at the National Gallery of Victoria in 1997.  Following my Doctorate, my research continued to intersect academia and the museums and galleries sector.  For example, I was involved with the organizing of the conference, Conducting bodies: Affect, Sensation and Memory, hosted by the Art Association of Australia and New Zealand (AAANZ) at the Art Gallery of New South Wales (AGNSW) in 2001, and convened three academic conferences on affect and the body (Sensational: Images and Bodies at UNSW in 1999; Sensational2 at UNSW 2000; and Sensational 2001 at UWS). I gave papers on affect in the museum at AAANZ’s Ethics and Aesthetics conference at AGNSW in 2003 and for the International Association for Media & History in Leicester, UK, 16–20 July, 2003.  

My interest in the application of theory of affect and conflict in the museum developed further when I was appointed as a Lecturer in Museum Studies at the University of Sydney on two fixed-term contracts totalling 3.5 years (2002-2005).  During that time, I focused particularly on the affective power of images and artefacts in Holocaust museum displays (I still publish research on this topic – I have an article currently in print for a special 2015 ‘affect’ issue of the Journal of Curatorial Studies, discussing the use of dark space in Holocaust museum displays).  My work in Sydney’s Museum Studies unit always directly connected with the sector.  I coordinated the industry internship program, placing postgraduate students in museums and galleries for 30-60 internships.  I delivered the Masters in Museum Studies for Hong Kong Leisure and Cultural Service Division curators and collection managers at Hong Kong University (2002-2004), integral to my role at Museum Studies at Sydney.  I also presented a series of four industry master classes for art curators in Hong Kong on applying ideas of affect in their work (2002-2004).  

My interest in the museums and galleries industry was such that I left academia for a period of 2.5 years (2005-2007) to take a role with Arts NSW, on the teams that managed the NSW Government’s Visual Arts, Museums and Infrastructure funding programs.  In this role, I provided high-level policy advice and briefings to the Minister for the Arts and (for a period) the Premier of NSW.  While I was prohibited from publishing research during that time, I continued to give papers on aspects of affect in the context of the museum in industry forums such as the Museums Australia national conferences, in which I gave papers in five consecutive years (2003-2007) and AAANZ national conferences (Sydney 2003, Canberra 2009).  

During my time working in the museums and galleries sector, I very much regarded my role as a conduit between current academic thinking on affect in the museum and gallery context, and the actually museum sector, where these ideas are translated into real world museum practice.  It is important to remember that museums and galleries are often the ‘end-users’ of the ideas that academics develop, as is the case with the Linkage currently proposed with the Australian War Memorial.  

I returned to academia in early 2008 to take up a position as Lecturer in Art History at the University of Newcastle.  Since that point I continued to develop my networks in Australia and overseas in the sector, for instance as a member of the organizing committees for the Museums Australia National Conference in Newcastle and the ArtsHealth Research Centre Conference, both in 2009.  I recently took part in a ten-day interdisciplinary collaborative workshop in Hong Kong with artists, designers and electronic engineers at Hong Kong Baptist University.  I often attend the College Art Association (CAA) conferences in the United States (Chicago 2010, New York 2013 and 2015), which are important in forging international networks of artists, theorists and educators.  I have been a member of the CAA since 2009, and a member of the International Council of Museums (ICOM) since 2005.  I am the current Chair of the External Advisory Committee, School of Humanities and Creative Arts, Avondale College (2014-present), and been a member since 2010.  

In 2009, a year after my return to academia, Shaun Gladwell, an artist whose work I had written on periodically since the mid-1990s, was appointed as Official War Artist.  I seized the opportunity to work with Gladwell on a research publication on his work commissioned by the Australia War Memorial.  This project developed from 2010 culminating in the publishing of Double War in 2015.  With an approach adapted from Grounded Theory, this research focused on many hours of interviews with Gladwell, as well as curators in the field of war art (Roger Tolson at the Imperial War Museum, London; Warwick Heywood at the Australian War Memorial).  Double War is now one of the most significant contributions to the field.  

I have also communicated this research to a non-academic audience through three articles on Gladwell, Quilty and war art in The Conversation, as well as an article in the contemporary art and culture magazine, Broadsheet, and a catalogue essay for the Memorial’s exhibition of Gladwell’s work at the Australian Embassy in Washington DC.  I have given public talks, panel discussions and presentations on this research in museums and galleries (for example, in 2015 Sherman Contemporary Art Foundation, Bega Valley Regional Gallery, and in 2014 at Newcastle Art Gallery, The Samstag Museum of Art and the Hawke Institute).  

Teaching Expertise

I have taught over 100 courses over the last 18 years.  In anonymous surveys administered by the University of Newcastle, students rated ‘overall satisfaction’ of my teaching and courses, from 2008-2015: 

Student Feedback on CourseAn overall average of 4.48 out of 5.00
(0.58 above the University of Newcastle mean for 2008-2015 of 3.96)

Student Feedback on TeachingAn average of 4.80 out of 5.00
(0.52 above the University of Newcastle mean for 2008-2015 of 4.23)

Teaching Awards:

* ALTC Citation for Outstanding Contributions to Student Learning (2011) For “inspiring and motivating first-year visual arts students through innovative teaching practices, redesigning course material and assessments and creating comprehensive online learning environments”. 

* Vice-Chancellor's Citation for Outstanding Contributions to Student Learning (2010) 

* Vice-Chancellor’s Award for Teaching Excellence and Learning Support (2009) 

Teaching Philosophy:Eighteen years ago, I came to teaching with a love of knowledge and a passion for education, which still drives my teaching today. But the very nature of knowledge and education is changing, and passion alone is not enough to connect meaningfully with today’s students. I believe that learning today is emphatically social and that excellent teaching must create conditions that connect students to each other, so that they learn through participating in constructing and sharing knowledge. This belief guides my entire teaching practice, from assessment and curriculum design to the classroom. Learning is a social experience, because knowledge is synthesised in the connections between people.[i] My philosophy of teaching, then, is influenced by a ‘connectivist’ approach, which Terry Anderson says, “stress[es] the value of peer-to-peer interaction in investigating and developing multiple perspectives.” Networked technology has changed attitudes towards information and knowledge, so that, even in face-to-face teaching, education is being transformed into “social scholarship.” The key to student learning today is activating learning spaces as social spaces, whether virtual or real. 

I aim to create participatory conditions for students, to create opportunities for knowledge to collide and synthesise. Two of my principle strategies in the classroom, aimed at motivating and provoking the engagement of students, are: 

  1. Dialogical Lectures; and 
  2. Tactical Ruptures 

1. Dialogical Lectures 

My lectures break the mould of a traditional lecture -- they're a dialogue, in which the students' input is central to the progression of the lecture's narrative. My lecture 'Revolution by Night: Surrealism and Psycholanalysis' (see the video at the top of this page or at http://youtu.be/I3opwG53GQs) is a typical example of one of my lectures 

2. Tactical Ruptures 

Tactical ruptures disrupt the expected flow of a lecture by creating a moment of tension for students. I published research on this in the Journal of University Teaching and Learning Practice, in which I describe a tactical rupture as: a calculated breakage in the expected flow of a narrative. Importantly, tactical ruptures are not necessarily moments of unpleasant disturbance... Indeed, in teaching, a moment of “crisis” in a narrative is often created by something astonishing, curious, or funny – the vital component in any tactical rupture is unexpected provocation. [v] For example, my lecture 'Revolution by Night' lecture is a two-hour lecture and one of the challenges it so maintain the engagement of students for the duration of this period. 

Administrative Expertise

I was the Program Convenor of the Bachelor of Fine Art 2012-2013, and was responsible for the successful implementation of the BFA degree program at the University of Newcastle. I have been the Fine Art representative on the School Teaching and Learning Committee from its inception until I went on SSP in 2011. I contribute to many of the activities hosted by the Centre for Teaching and Learning, which I believe performs a valuable role in the life of the University. I contribute regularly to the Centre for Teaching and Learning, such as sitting on the Selection Committee for the Vice Chancellor’s Awards, contributing to panel discussions, provided advice to colleagues at workshops leading up to the teaching award nominations and to advise new staff in the Teaching Toolkit Program. 

I’ve been a member of the School of Creative Arts Teaching and Learning Committee since it formed in 2009, and I am on the Knowledge Exchange Group – for NeW Space, a $95 million education precinct development by the University of Newcastle in the city centre of Newcastle. The influence of my teaching practice extends far beyond the University. I’ve represented the University as a member of Avondale College’s 2010 External Advisory Committee, providing benchmarking between our two BFA programs. I have also sat on postgraduate confirmation panels and been an external undergraduate marker for Avondale. In 2009, Andy Collis, Senior Lecturer in art at Avondale College, audited my entire first year course in 2009 to benchmark their art history course. He then based Avondale’s art history course on my structure and approaches in the following academic year. I have also been an external undergraduate and Honours marker for the University of Southern Queensland (USQ), and College of Fine Arts UNSW. I frequently examine doctoral theses for Griffith University, USQ and other Australian universities. 


Qualifications

  • PhD, University of New South Wales
  • Bachelor of Arts (Visual Arts ) Honours, University of Sydney

Keywords

  • affect
  • art and war
  • art history
  • art theory
  • museology
  • museums

Fields of Research

Code Description Percentage
200212 Screen and Media Culture 25
190599 Visual Arts and Crafts not elsewhere classified 50
210204 Museum Studies 25

Professional Experience

UON Appointment

Title Organisation / Department
Senior Lecturer University of Newcastle
School of Creative Arts
Australia

Academic appointment

Dates Title Organisation / Department
1/01/2010 -  Membership - College Art Association College Art Association
United States
1/09/2007 - 1/08/2008 Program Manager, Western Sydney Arts Strategy Department of Arts, Sport and Recreation, NSW Government
Arts
Australia
1/06/2005 - 1/09/2007 Assistant Program Manager

Arts NSW

Department of Arts, Sport and Recreation, NSW Government
Australia
1/03/2002 - 1/06/2005 Associate Lecturer The University of Sydney
Museum Studies
Australia
1/03/2001 - 1/12/2001 Lecturer University of Western Sydney
School of Humanities
Australia

Awards

Recipient

Year Award
2011 Citation for Outstanding Contributions to Student Learning
Australian Learning and Teaching Council
2010 Vice-Chancellor's Citation for Outstanding Contributions to Student Learning
University of Newcastle
2009 Vice-Chancellor’s Award for Teaching Excellence and Learning Support
University of Newcastle
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Publications

For publications that are currently unpublished or in-press, details are shown in italics.

Highlighted Publications

Year Citation Altmetrics Link
2015 Messham-Muir CD, Double War: Shaun Gladwell, visual culture and the wars in Afghanistan and Iraq, Thames & Hudson Australia, Port Melbourne, 224 (2015) [A1]
Co-authors Kit Messham-Muir

Media (2 outputs)

Year Citation Altmetrics Link
Messham-Muir CD, ERROR INVALID CATEGORY: FOR PUBLICATION RP_UID 252190
Co-authors Kit Messham-Muir
Ellis Liz, Messham-Muir CD, ERROR INVALID CATEGORY: FOR PUBLICATION RP_UID 252191
Co-authors Kit Messham-Muir

Book (2 outputs)

Year Citation Altmetrics Link
2015 Messham-Muir CD, Double War: Shaun Gladwell, visual culture and the wars in Afghanistan and Iraq, Thames & Hudson Australia, Port Melbourne, 224 (2015) [A1]
Co-authors Kit Messham-Muir
2007 Messham-Muir K, Beyond Region: Public Galleries in New South Wales, Arts NSW & Australia Council, Sydney, Australia (2007) [A3]
Co-authors Kit Messham-Muir

Chapter (2 outputs)

Year Citation Altmetrics Link
2013 Messham-Muir CD, 'Melting into the texture of everyday life', Ecologies of Invention, Sydney University Press, Sydney 70-77 (2013) [B1]
Co-authors Kit Messham-Muir
2009 Messham-Muir CD, 'Beneath the pavement', Back to the City: Strategies for Informal Urban Interventions: Collaboration Between Artists and Architects, Hatje Cantz Verlag, Ostfildern, Germany 120-123 (2009) [B1]
Co-authors Kit Messham-Muir

Journal article (20 outputs)

Year Citation Altmetrics Link
2015 Messham-Muir CD, 'Review: Activating space, a little ¿ Sarah Sze in London', The Conversation, ----- (2015) [O1]
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, 'Vivid Sydney: contemporary art - or just a bright night out?', The Conversation, --- (2015) [O1]
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, 'Here's Looking At: Blue poles by Jackson Pollock', The Conversation, --- (2015)
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, 'What 2015 looked like is visual art', The Conversation, --- (2015)
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, 'On Kawara - Silence, at the Guggenheim, reviewed', The Conversation, ----- (2015) [O1]
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, 'Why is Ben Quilty supporting two convicted drug smugglers?', The Conversation, ----- (2015) [O1]
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, 'Shaun Gladwell is returning to Sydney, and may not shed tears', The Conversation, ----- (2015) [O1]
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, '¿You start with the image¿: Marlene Dumas at the Tate Modern', The Conversation, ----- (2015) [O1]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, 'Impossible Empathy: The Non-Documentary War Art of Shaun Gladwell', ON: Audio Journal for Experimental Art and Visual Culture, (2014)
Co-authors Kit Messham-Muir
2012 Messham-Muir CD, 'History's actors in the theatre of war: Images, myths and the frame in the War on Terror', antiTHESIS, 22 143-155 (2012) [C1]
Co-authors Kit Messham-Muir
2012 Messham-Muir CD, 'From tinkering to meddling: Notes on engaging first year art theory students', Journal of University Teaching & Learning Practice, 9 Article 3 (2012) [C1]
Co-authors Kit Messham-Muir
2012 Messham-Muir CD, 'TOUCH: The Portraiture of Dan Marti', Art & Australia, 49 504 (2012) [C3]
Co-authors Kit Messham-Muir
2005 Messham-Muir C, 'Affect, Interpretation and Technology', Open Museum Journal, 7 (2005) [C1]
Co-authors Kit Messham-Muir
2004 Messham-Muir C, 'Dark Visitations: The Possibilities and Problems of Experience and Memory in Holocaust Museums', Australian and New Zealand Journal of Art, 5 104-105 (2004) [C1]
Co-authors Kit Messham-Muir
2002 Messham-Muir C, 'Reconciling the Local and the Global in the Art of Adam Cullen 71-83 (2002) [C1]
Co-authors Kit Messham-Muir
2002 Messham-Muir C, 'Here We Are! National Museums of Postcolonial Australasia in a Post-Nation-State World 45-64 (2002) [C1]
Co-authors Kit Messham-Muir
2001 Messham-Muir C, 'Practices of the City', Kerb: Journal of Landscape Architecture, 6-11 (2001) [C2]
Co-authors Kit Messham-Muir
1996 Messham-Muir C, 'Dale Frank: Social Realism (1996) [C1]
Co-authors Kit Messham-Muir
1996 Messham-Muir C, 'Victoria Lobregat (1996) [C1]
Co-authors Kit Messham-Muir
1994 Messham-Muir C, 'Mishka Borowski at Pendulum 43-44 (1994) [C3]
Co-authors Kit Messham-Muir
Show 17 more journal articles

Review (8 outputs)

Year Citation Altmetrics Link
2016 Messham-Muir C, 'Matthys Gerber, Museum of Contemporary Art Australia (2016)
Co-authors Kit Messham-Muir
2005 Messham-Muir C, 'South Pacific Museums', Museums Australia Magazine (2005) [D2]
Co-authors Kit Messham-Muir
2003 Messham-Muir C, 'Tony Clark at Roslyn Oxley9', Eyeline (2003) [D2]
Co-authors Kit Messham-Muir
2001 Messham-Muir C, 'David Griggs and Shaun Gladwell', Eyeline (2001) [D2]
Co-authors Kit Messham-Muir
2000 Messham-Muir C, 'Franz Ehmann: Open Panorama & Soapbox', Globe online arts magazine (2000) [D2]
Co-authors Kit Messham-Muir
1994 Messham-Muir C, 'Adam Cullen: Soft Material Facts', Eyeline (1994) [D2]
Co-authors Kit Messham-Muir
1994 Messham-Muir C, 'Mishka Borowski', Art & Text (1994) [D2]
Co-authors Kit Messham-Muir
1994 Messham-Muir C, 'Fresh Art', Eyeline (1994) [D2]
Co-authors Kit Messham-Muir
Show 5 more reviews

Conference (3 outputs)

Year Citation Altmetrics Link
2009 Messham-Muir CD, 'Ground to air: Military conflict and the work of Shaun Gladwell', AAANZ Conference 2009. Themes and Abstracts (2009) [E3]
Co-authors Kit Messham-Muir
2009 Messham-Muir CD, 'Archives, documents and affect', Museums Australia National Conference 2009 (2009) [E3]
Co-authors Kit Messham-Muir
2009 Messham-Muir CD, 'Narrative, memory and empathy: The Lower East Side Tenement Museum in New York', The 2nd ArtsHealth Conference Proceedings (2009) [E3]
Co-authors Kit Messham-Muir

Creative Work (55 outputs)

Year Citation Altmetrics Link
2015 Messham-Muir CD, Interview with Mark Dutcher, artist, Los Angeles, 5 April 2013 (2015)
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, Shaun Gladwell on 'Self-Portrait as a Semiotext(e) Foreign Agent', London, 3 February 2015 (2015)
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, Shaun Gladwell (five texts), Sydney (2015)
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, Interview with Shaun Gladwell, artist, London, 4 February 2015, Newcastle (2015)
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, Interview with Michel Delsol, photographer, and Joe Lamport, writer, New York, 16 February 2015, Newcastle (2015)
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, Interview with Ian Burns, artist, New York, 3 October 2012, Newcastle (2015)
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, Interview with Martin Durazo, artist, New York, 3 October 2012 (2015)
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, Launch of 'Double War: Shaun Gladwell' , Sherman Contemporary Art Foundation, 23 April 2015, Newcastle (2015)
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, Gladwell S, Patton P, Thwaites D, Self Portrait as a Semiopext(e) Foreign Agent, Sydney (2015)
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, Kit Messham-Muir: 'Claudia Parducci: The Space Between Us', 2015, Newcastle (2015)
Co-authors Kit Messham-Muir
2015 Messham-Muir CD, The Haptic InterFace 2014, collaborative design workshop, Hong Kong, 1-10 December 2014, Newcastle (2015)
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, Interview with Shaun Gladwell, artist, London, 1 October 2014, Newcastle (2014) [J2]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, Experiencing Afghanistan, Samstag Museum, Adelaide, 11 April 2014, Newcastle (2014) [J1]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, Interview with Lucie Conoley, artist, Brixton, England, 4 October 2013, Newcastle (2014) [J2]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, Interview with David Ryan, artist, Las Vegas, United States, 2 April 2013, Newcastle (2014) [J2]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, Interview with Louise Evans and Jonathan Edwards, Gresford, Wales, 28 September 2013, Newcastle (2014) [J2]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, Interview with Charles Stuckey, art historian, New York, 4 October 2012, Newcastle (2014) [J2]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, Haptic InterFace 2014, Hong Kong (2014) [J2]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, Interview with John Tonkin, artist, Bondi Junction, Sydney, Australia, 21 April 2013, Newcastle (2014) [J2]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, The Pangolin Gestural Presentation Controller, Hong Kong (2014) [J2]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, Interview with Esther Teichmann, artist, Kennington, London, 21 September 2013, Newcastle (2014) [J2]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Interview with Andy Devine, artist, Eleebana, Australia, 18 May 2013, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Vanessa Schwartz and Charles Stuckey discuss Gustave Caillebotte's 'Paris Street Rainy Day', 1877, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Review of 2012, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Interview with Kori Newkirk, artist, Los Angeles, 4 April 2013, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Kit Messham-Muir: Interview with William Anastasi, artist, New York, 3 October 2012, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, What Was Modernism?, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Interview with Carl Andre and Melissa Kretschmer, New York, 8 April 2013, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Interview with Douglas Fogle, curator, Los Angeles, United States, 24 September 2012, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Kit Messham-Muir: Interview with Ben Quilty, artist, Robertson, Australia, 26 January 2013, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Interview with Carl Andre, artist, New York, 8 April 2013, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Interview with Shaun Gladwell, artist, Venice, Italy, 3 October 2013, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Ben Quilty on New Masculinities in Contemporary Art, 26 January 2013, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Interview with McLean Fahnestock, artist, Los Angeles, 5 April 2013, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Interview with Tim Bavington, artist, Las Vegas, 1 April 2013, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Kit Messham-Muir: Interview with Alasdair Groves, artist, Toowoomba, Australia, 11 May 2012, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Review: Australia, at the Royal Academy of Arts, London, 25 September 2013, Newcastle, NSW, Australia (2013) [J3]
Co-authors Kit Messham-Muir
2013 Messham-Muir CD, Double Looking: Shaun Gladwell in Afghanistan, Canberra (2013) [J3]
Supanova
Co-authors Kit Messham-Muir
2012 Messham-Muir CD, StudioCrasher. Kit Messham-Muir: Interview with Claudia Parducci, Los Angeles, 24 September 2012, Newcastle, NSW, Australia (2012) [J2]
Supanova
Co-authors Kit Messham-Muir
2012 Messham-Muir CD, Studio Crasher. Kit Messham-Muir: Interview with Vanessa Schwartz, historian, Los Angeles, 28 September 2012, Newcastle, NSW, Australia (2012) [J2]
Co-authors Kit Messham-Muir
2012 Messham-Muir CD, Studio Crasher. Kit Messham-Muir: Interview with Max Presneill, Los Angeles, 7 July 2012, Newcastle, NSW, Australia (2012) [J2]
Co-authors Kit Messham-Muir
2012 Messham-Muir CD, Studio Crasher. Kit Messham-Muir: Interview with Dani Marti, artist, New York, 3 July 2012, Newcastle, NSW, Australia (2012) [J2]
Co-authors Kit Messham-Muir
2012 Messham-Muir CD, Studio Crasher. Kit Messham-Muir: Interview with Dove Bradshaw, artist, New York, 1 July 2012, Newcastle, NSW, Australia (2012) [J2]
Co-authors Kit Messham-Muir
2012 Messham-Muir CD, Studio Crasher. Kit Messham-Muir: Comment on Documenta 13, Berlin, 22 June 2012, Newcastle, NSW, Australia (2012) [J2]
Co-authors Kit Messham-Muir
2008 Messham-Muir CD, Crack 1; Crack 2; Home: Forsythes Collectors Care Art Exhibition, Newcastle (2008) [J2]
Co-authors Kit Messham-Muir
2008 Messham-Muir CD, Affect and the Archive, Newcastle (2008) [J2]
Co-authors Kit Messham-Muir
2008 Messham-Muir CD, Equilibrium: Shaun Gladwell's Double Voyage, 2006', Catalogue essay, Melbourne, VIC (2008) [J2]
Co-authors Kit Messham-Muir
2008 Messham-Muir C, Equilibrium: Shaun Gladwell''s Double Voyage (Catalogue Essay), Melbourne, Australia (2008) [J2]
Co-authors Kit Messham-Muir
2003 Messham-Muir C, VIBGYOR: Victor Gordon''s art from 1977 to 2003, Broken Hill, NSW (2003) [J2]
Co-authors Kit Messham-Muir
2001 Messham-Muir C, Sex Differential: Mothertrucker, Campbelltown, (2001) [J2]
Co-authors Kit Messham-Muir
2000 Messham-Muir C, Practices of the City and Shaun Gladwell''s Kickflipping Flaneur, Sydney, Australia (2000) [J2]
Co-authors Kit Messham-Muir
2000 Messham-Muir C, ''No Gold For Gargantua'', The Liminal Body, Sydney, Australia (2000) [J2]
Co-authors Kit Messham-Muir
1999 Messham-Muir C, ''The Politics of Culture versus the politics of culture'', Sydney, (1999) [J2]
Co-authors Kit Messham-Muir
1995 Messham-Muir C, ''Critical Dys-course'', Critical Spaces, Sydney, Australia (1995) [J2]
Co-authors Kit Messham-Muir
1993 Messham-Muir C, Modus Operandi: Aesthetics and Practice'' (Catalogue Essay), Sydney, Australia (1993) [J2]
Co-authors Kit Messham-Muir
Show 52 more creative works

Other (11 outputs)

Year Citation Altmetrics Link
2015 Messham-Muir CD, 'Painting a new path in life ¿ Art¿s redemptive power has great appeal', The Newcastle Herald ( pp.19-19). Newcastle: Fairfax (2015)
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, 'Two artists go to war ¿ Shaun Gladwell and Ben Quilty', ( issue.- pp.---) (2014) [O1]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, 'Three simple steps to understand art: look, see, think', ( pp.---) (2014) [O1]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, 'Three questions not to ask about art ¿ and four to ask instead', ( pp.---) (2014) [O1]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, 'Ben Quilty at the Saatchi Gallery ¿ things just got interesting', ( pp.---) (2014) [O1]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, 'Review: The Life and Death of Adam Cullen by Erik Jensen', ( pp.---) (2014) [O1]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, 'It¿s too hard to love Primavera 2014 at Sydney¿s MCA', ( pp.---) (2014) [O1]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, 'Jeff Koons ¿ a spectacle on the way to respectable', ( pp.---) (2014) [O1]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, 'A Manifesta without a manifesto: contemporary art in St Petersburg', ( pp.---) (2014) [O1]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, 'Wim Delvoye¿s astonishing art shows what¿s lurking in the banal', ( pp.---) (2014) [O1]
Co-authors Kit Messham-Muir
2014 Messham-Muir CD, 'Three questions not to ask about art - and four to ask instead', A Year in the Life of Australia ( pp.276-280). Sydney: Future Leaders (2014) [O1]
Co-authors Kit Messham-Muir
Show 8 more others
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Grants and Funding

Summary

Number of grants 5
Total funding $27,542

Click on a grant title below to expand the full details for that specific grant.


20153 grants / $20,542

Study Overseas Short-term Mobility Program$11,500

​The Study Overseas Short-term Mobility Program provides funding to eligible Australian higher education providers to support their Australian students to undertake short-term international mobility experiences in eligible destinations throughout the world.

Funding body: Department of Education and Training

Funding body Department of Education and Training
Project Team
Scheme Study Overseas Short-term Mobility Program
Role Lead
Funding Start 2015
Funding Finish 2015
GNo
Type Of Funding Other Public Sector - Commonwealth
Category 2OPC
UON N

Special Studies Program$5,700

Special Studies Program means a period of release from normal duties to allow eligible academic staff to undertake a planned program of scholarly teaching, and research and innovation related activities and development.

Funding body: University of Newcastle - Faculty of Education and Arts

Funding body University of Newcastle - Faculty of Education and Arts
Project Team
Scheme Special Studies Program
Role Lead
Funding Start 2015
Funding Finish 2015
GNo
Type Of Funding Internal
Category INTE
UON N

The Visual Culture of Contemporary Warfare in the Age of the Military Industrial media Entertainment Network$3,342

Funding body: University of Newcastle

Funding body University of Newcastle
Project Team Doctor Kit Messham-Muir, Professor Philip Dwyer
Scheme Linkage Pilot Research Grant
Role Lead
Funding Start 2015
Funding Finish 2015
GNo G1501065
Type Of Funding Internal
Category INTE
UON Y

20131 grants / $3,500

JRE Funding Grant$3,500

Funding body: University of Newcastle - Faculty of Education and Arts

Funding body University of Newcastle - Faculty of Education and Arts
Project Team
Scheme JRE Funding Grant, School of Creative Arts
Role Lead
Funding Start 2013
Funding Finish 2013
GNo
Type Of Funding Internal
Category INTE
UON N

20121 grants / $3,500

JRE Funding Grant$3,500

Funding body: University of Newcastle - Faculty of Education and Arts

Funding body University of Newcastle - Faculty of Education and Arts
Project Team
Scheme JRE Funding Grant, School of Creative Arts
Role Lead
Funding Start 2012
Funding Finish 2012
GNo
Type Of Funding Internal
Category INTE
UON N
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Research Supervision

Number of supervisions

Completed11
Current4

Total current UON EFTSL

PhD2.2

Current Supervision

Commenced Level of Study Research Title / Program / Supervisor Type
2015 PhD Narrative and Storytelling in Contemporary Art Practice
PhD (Fine Art), Faculty of Education and Arts, The University of Newcastle
Principal Supervisor
2015 PhD Shu Hada: Photographing the Local and Global Cultural Contestations of UAE Residential Free Zones
PhD (Architecture), Faculty of Engineering and Built Environment, The University of Newcastle
Co-Supervisor
2013 PhD Dominion Over all the Earth: Visualising the Tensions of Science and Sustainability in Contemporary Art Practice
PhD (Fine Art), Faculty of Education and Arts, The University of Newcastle
Principal Supervisor
2013 PhD Considering the Baggage: The Perception and Phenomenology of Sculpture when Sited in a Specified Context
PhD (Fine Art), Faculty of Education and Arts, The University of Newcastle
Principal Supervisor

Past Supervision

Year Level of Study Research Title / Program / Supervisor Type
2015 PhD The Museum Qua The Evolution of a Knowledge Institution in an Era of Pervasively Networked Information Infrastructure
PhD (Fine Art), Faculty of Education and Arts, The University of Newcastle
Principal Supervisor
2015 Masters Manhattan and the Merging of Modernism
M Philosophy (Fine Art), Faculty of Education and Arts, The University of Newcastle
Principal Supervisor
2015 PhD The Human Touch? What is the Value of the Artist/Sitter Relationship to Contemporary Portrait Painting?
PhD (Fine Art), Faculty of Education and Arts, The University of Newcastle
Principal Supervisor
2013 Masters Beyond the Pale: Australia: the Studio as Site where Notions of Irish National Identity are Translated into Contemporary Works of Art
M Philosophy (Fine Art), Faculty of Education and Arts, The University of Newcastle
Principal Supervisor
2012 Masters Connections to the Earth
M Philosophy (Fine Art), Faculty of Education and Arts, The University of Newcastle
Principal Supervisor
2011 PhD Public Works or Private Donations? The Impacts of Artistic and Economic Risk on the Working Practitioner
PhD (Fine Art), Faculty of Education and Arts, The University of Newcastle
Principal Supervisor
2011 PhD Reconnection: An Exploration of Australian Landscape Beyond History and Myth
PhD (Fine Art), Faculty of Education and Arts, The University of Newcastle
Principal Supervisor
2011 PhD Images of Asian Identity: Asian Women as a Vision of Technological Utopia
PhD (Fine Art), Faculty of Education and Arts, The University of Newcastle
Principal Supervisor
2010 PhD Landscape and Memory: An Archaic Narrative
PhD (Fine Art), Faculty of Education and Arts, The University of Newcastle
Principal Supervisor
2010 PhD A Punch in the Gut: Experiential Knowledge, Empathy, and Performance Art
PhD (Fine Art), Faculty of Education and Arts, The University of Newcastle
Co-Supervisor
2009 Masters Terra Incognita: The Sublime, The Uncanny and Nostalgia in Painting the Landscape Australian
M Fine Art [R], Faculty of Education and Arts, The University of Newcastle
Principal Supervisor
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News

The Conversation

Three simple steps to understand art: look, see, think

December 3, 2014

What's the key to understanding art? Could there be some easy steps to unpacking the meaning of an artwork? The short answer is: yes. Dr Kit Messham-Muir explains.

The Conversation

A Manifesta without a manifesto: contemporary art in St Petersburg

October 14, 2014

Dr Kit Messham-Muir, from the School of Creative Arts at the University of Newcastle, reviews contemporary art exhibition Manifesta 10 in St Petersburg, Russia.

The Conversation

Wim Delvoye’s astonishing art shows what’s lurking in the banal

October 3, 2014

Dr Kit Messham-Muir, a Senior Lecturer in the School of Creative Arts at the University of Newcastle (UON), looks at the astonishing work of Belgian artist Wim Delvoye.

The Conversation

Review: The Life and Death of Adam Cullen by Erik Jensen

September 22, 2014

 Dr Kit Messham-Muir, from the School of Creative Arts reviews Acute Misfortune: The Life and Death of Adam Cullen for The Conversation.

The Conversation

Three questions not to ask about art - and four to ask instead

August 22, 2014

By Kit Messham-Muir, School of Creative Arts, University of Newcastle

Art raises a lot of questions. That's what it does. If an art work in a gallery or a news story has made you ask "what the …?", it has already started to do its job.

The Conversation

Two artists go to war - Shaun Gladwell and Ben Quilty

August 1, 2014

By Kit Messham-Muir, School of Creative Arts, University of Newcastle

Shaun Gladwell and Ben Quilty – two of Australia's leading artists – display very different approaches to war at parallel exhibitions opening at Perth's John Curtin Gallery on Saturday.

The Conversation

Jeff Koons - a spectacle on the way to respectable

July 25, 2014

By Kit Messham-Muir, Senior Lecturer in the School of Creative Arts at University of Newcastle.

American Jeff Koons is possibly the most contentious living artist. His current retrospective at the Whitney Museum in New York writes him into the contemporary canon of great living artists – but even after a long and controversial career, that hasn't been an easy case to make.

The Conversation

Ben Quilty at the Saatchi Gallery … things just got interesting

July 9, 2014

By Kit Messham-Muir, University of Newcastle

Ben Quilty is the first Australian artist to hold a solo show at the Saatchi Gallery in London. Opening last Friday and running until August 3, the exhibition is a big deal for Quilty, naturally, but also for art in the southeastern corner of the globe.

Dr Kit Messham-Muir

Position

Senior Lecturer
Art History
School of Creative Arts
Faculty of Education and Arts

Focus area

Fine Art

Contact Details

Email kit.messham-muir@newcastle.edu.au
Phone (02) 4921 8664

Office

Location Callaghan
University Drive
Callaghan, NSW 2308
Australia
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