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Ms Judith Winter
|Biography||Judith Winter is an independent curator, writer and lecturer in critical & contextual studies, Gray’s School of Art. She returned to teaching in 2016 and joined RGU in 2019 following a career working as a curator of modern and contemporary art. Her current research draws together her interest in contemporary curating, art school reform (Bauhaus, Black Mountain and beyond) and ways of working across disciplinary boundaries.
Formally she worked as inaugural curator of fine art for Middlesbrough Institute of Modern Art (mima) and Head of Arts for Dundee Contemporary Arts (DCA). Her integrated approach to exhibition making was informed through her formative experiences at Riverside Studios and Lisson Gallery, London in the early 90s and influenced through exposure to the pioneering curators working in the expanded field of art practice, during her research for Out of Sight, Out of Mind, Lisson Gallery, London (1993).
At mima she was responsible for the development of the curatorial approach that helped established the creative ambitions of the venue. Alongside overseeing the conservation of the Fine Art collection she also acquired a significant collection of contemporary drawing through the support of Contemporary Art Society (CAS) and co-curated with Godfrey Worsdale, the opening exhibition: DRAW. Her work at mima, culminated in the development of Bauhaus 1919 – 1933 & The Language of Vision (2007) that highlighted the venues aim to challenge the hierarchy between visual and applied art and explore ways that the Bauhaus pedagogic approach in sense perception was also socially transformative.
As Head of Arts at DCA (Dundee Contemporary Arts, Scotland) she created a dynamic programme of solo exhibitions, publications and associated events by artists who have critically challenged art institutions and traditional modes of representation. These include (amongst others): Thomas Hirschhorn, 'It’s Burning Everywhere', Camilla Løw: 'Straight Letters'; Johanna Billing: Keep on Doing'; Matthew Buckingham: 'Play the Story.' Her curatorial approach was most clearly demonstrated through DCA10, that included: Martin Boyce: 'No Reflections' for Scotland + Venice for the 53rd Venice Biennale and the ambitious exhibition déjàVu with the artist Manfred Pernice and the curators Mike Stanley (1975 – 2012) Modern Art Oxford, Frank Maes, SMAK Gent. Since leaving DCA she has continued to work on independent curatorial projects, most recently as guest curator with The Henry Moore Institute, Leeds. Developing a major retrospective exhibition ‘Edward Allington: Things Unsaid', that payed homage to a significant mentor and aimed to situate and introduce the artists practice for a new generation.
Throughout her career she has been committed to supporting emergent practices and worked as arts advisor for British Council Scotland between 2012 - 2013, leading on a programme of international networking opportunities for curators. She also has played a key role supporting artist-led organisations, including Locus +, Art Editions North, Workplace and MAP, Scotland.
|Research Interests||Judith Winter works between curatorial projects, teaching and writing. She is particularly interested in the transformative potential of art school environments and independent art organisations. Her research focuses on the artistic ecology and the ethos and principles that transformed the cultural attitudes of future generations of artists, architects, designers and social visionaries. It builds on her experiences in recent years working as part of the ERC funded research project: Knowing from the Inside (KFI) led by the environmental anthropologist Prof. Tim Ingold, University of Aberdeen and association with the Bauhaus Dessau Foundation, that considers the conditions that give rise to social and educational reform and why that matters for our collective futures.|
|Teaching and Learning||Lecturer, Critical & Contextual Studies
Gray's School of Art, RGU offers a unique opportunity to work with students to explore sense of place and use the location and Heritage collection as a trigger for pedagogic practices. The location in North-East Scotland also provides the opportunity to explore art and environment and ways of working across disciplinary fields.
Gray’s School of Art was designed by Michael Shewan for Scott Sutherland Partners in 1966, its inspiration is attributed directly to both the Bauhaus Dessau (1926) and more specifically to Mies van der Rohe’s Crown Hall,for Ilinois Institute of Technology, Chicago (1956). Described then as a ‘secluded community in which to equip the student with the knowledge and skill for practical life. An environment which will develop [the students] personality and enable him to make the right use of his knowledge and skills.’ (Shewan 1963).
|Scopus Author ID||56803194800|