Stallabrass, Julian 1960-

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STALLABRASS, Julian 1960-

PERSONAL:

Born March 16, 1960, in London, England. Education: Courtauld Institute of Art, Ph.D., 1992.

ADDRESSES:

Office—Courtauld Institute of Art, Somerset House, The Strand, London WC2 0RN, England. E-mail—[email protected].

CAREER:

Courtauld Institute of Art, London, England, lecturer; editorial board member, New Left Review and Third Text; trustee, Beaconsfield Artists' Space.

WRITINGS:

(With David Mitchinson) Henry Moore, Rizzoli (New York, NY), 1992.

Gargantua: Manufactured Mass Culture, Verso (New York, NY), 1996.

(Editor) Ground Control: Technology and Utopia, Black Dog Publishing (London, England), 1997.

(Editor) Occupational Hazard: Critical Writing on Recent British Art, Black Dog Publishing (London, England), 1998.

(Editor) Locus Solus: Technology, Identity, and Site in Contemporary Art, Black Dog Publishing (London, England), 1999.

High Art Lite: British Art in the 1990s, Verso (New York, NY), 1999.

Paris Pictured, Royal Academy of Arts (London, England), 2002.

Internet Art, Tate Gallery Publications (London, England), 2003.

Contributor to periodicals, including Tate, Art Monthly, and New Statesman.

WORK IN PROGRESS:

Research on contemporary art, particularly issues of globalization; twentieth-century British art; history of photography; online art.

SIDELIGHTS:

Julian Stallabrass is a writer, photographer, and art critic. He lectures on art history at the Courtauld Institute of Art at the University of London. His 1999 book, High Art Lite: British Art in the 1990s, examines the movement which developed in Great Britain during the 1990s. Stallabrass discusses what he considers the movement's best work, as well as its worst, and notes that much of this art's popularity is derived from its connection to advertising and consumerism. The book includes nearly eighty full-color reproductions of the artworks discussed. Stallabrass's theory is that at its heart, this art form is deeply conservative, cynical, derivative, and anti-intellectual, but that it rose to prominence by falsely billing itself as anarchic, rude, brutal, and antiestablishment. In LA Weekly, Ralph Rugoff wrote that the book "is most compelling when tracking specific case histories" of particular artists and their work.

Henry Moore is a study of the English sculptor's work and career, illustrated with 203 plates, most of which are in color. It includes two introductory essays by staff members from the Henry Moore Foundation.