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Prof Liz Rideal
Slade School of Fine Art
UCL
Gower St
London
WC1E 6BT
Prof Liz Rideal profile picture
Appointment
  • Professor of Fine Art
  • The Slade School of Fine Art
  • Faculty of Arts & Humanities
Biography

Foundation Brighton Polytechnic 1972/3 BA Combined Honours in English and Fine Art, Exeter University/Exeter College of Art  1973-76  PGCE Exeter University 1978.

Painting Department at the Slade School of Fine Art since 1992.

http://www.lizrideal.com 


Research Groups
Research Summary
In writing and making art, my themes of drapery, painting, portraiture and pilgrimage elide and inform one another, making the progress of my work not linear but rather elastic and broad ranging.

Early photo-booth collages arose from scrutiny of self-portraits that in turn led to writing books and curating exhibitions. The essay, Golden Years?1905-1950: a non-digital world (Louisiana Museum of Modern Art, 2012) continued research for; Insights: Self-portraits (The National Portrait Gallery, 2005) and Mirror/Mirror: Self-portraits by Women Artists (NPG & Watson-Guptill, N Y. 2001). Warhol’s Dream: the self multiplied, an introduction to 500 Self-portraits (Phaidon, 2018) and Essence of Memento Mori, in Basquiat by Himself (Hirmer Verlag, 2019) continue the study.

 How to Read Painting : a short survey of Western European Painting (Bloomsbury & Rizzoli, 2014 & 2015)  (over 65,000 + copies) remains on sale at The National Gallery London. It was the basis of my Exeter College, Oxford University Summer School coure in 2018 & 19 and is translated into Chinese, Spanish, Turkish, Korean, Polish and Russian. The launch was supported by lectures at museums and galleries both in the UK and USA, research and travel funded by an Art Fund grant. In 2018, Madam and Eve, I co-authored (with Kathleen Soriano, Laurence King pubs) and my essay Erotic Cloth Echoes in Film, appeared in The Erotic Cloth (Bloomsbury Academic). Pictorial duel: Xenia Hausner and the dual performance portrait (Albertina, Vienna and Pushkin, Moscow, 2021) is a catalogue essay for Hausner’s, True Lies exhibition.


Inkjet on silk print

Five solo exhibitions in the USA included a retrospective at The University of Massachusetts, in 2001, Lucas Schoormans Gallery, New York, in 2000/01/06 and Gallery 339, Philadelphia in 2014. 
A British Academy Grant enabled filming the Indian cotton industry resulting in, Light Curtain the commissioned film projection for Cotton: Global Threads at The Whitworth Art Gallery, Manchester, 2012. Splicing Time: Rome and the Roman Campagna; Leverhulme Fellowship, 2016-17, investigated the visual and emotional resonance of drapery. Connections with the C18th Grand Tour were explored with an innovative photographic installation at UCL’s Art Museum as Artist-in-Residence and also at Compton Verney in 2020. Further Roman-inspired solo exhibitions were supported by the Cities Partnership Programme; Feu Follet, 2018 in London and Temporal Stabilities, 2020 in Rome.

My artwork featured in Fabric: Touch & Identity, Compton Verney, 2020, Women, Power, Protest, Birmingham Museum and Art Gallery, 2019 and A History of Photography: Series and Sequences, at The Victoria and Albert Museum, 2015. Also held in public Collections including, Tate, The British Museum, The V&A, The National Portrait Gallery, The Government Art Collection, The Whitworth Art Gallery, New Hall, Cambridge and The British Academy. The Yale Center for British Art, George Eastman Museum, University of California Museum at Berkeley, The Portland Art Museum, Oregon, the Metropolitan Museum of Art, New York, USA and The Museet for Fotokunst, Denmark.

Teaching Summary
At the Slade School of Fine Art (UCL) I have contributed to exhibiting, teaching, supervision, curriculum development and assessment.

As part of the 150th Anniversary I organised and chaired a symposium "Slade Women"  9 February 2022, online, with a recording of the proceedings available here -

https://www.ucl.ac.uk/slade/slade-150/slade-women

Slade Drawing 150, is a book to be published in December 2022, containing drawings from current staff members juxtaposed with others selected from UCL Art Museum Collection.
 I wrote the text in relation to the Slade Drawing Courses run by my colleague Sandra Smith.

Slade Summer School courses include, Collage (2015) and Good Artists Copy, Great Artists Steal! (2016, 17, 18, 19) these focus on making connections between drawing in the studio and drawing in museums and art galleries.

Exposing the Self and juggling the uniform, was the keynote lecture at the conference Autoportraits en costumes, at the University of Nantes and the Beaux Arts de Nantes, 23-24/11/18.

Straw Poll was a paper delivered at the ON PAINTING conference in Manchester at the Whitworth Art Gallery on 31/11/15.

Straw Camera, was the catalogue essay published in connection with the exhibition, Fishing for the Moon celebrating the work of Michael Farrell, who worked at the Slade from 2003 - 2015. This was part of the Photo Club Salon, showing photographs by staff and students at the Slade School of Fine Art.







Appointments
01-OCT-1999 Lecturer Fine Art Painting Department Slade School of Fine Art, UCL, United Kingdom
01-OCT-1992 – 30-SEP-1998 Lecturer Postgraduate Painting Slade School of Art UCL, United Kingdom
Academic Background
1978   Postgraduate Certificate in Education University of Exeter
1976   Bachelor of Arts University of Exeter
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