AHRC Block Grant Partnership

The Northumbria – Sunderland Centre for Doctoral Training is a continuation of the relationship between the two Universities and its external partners established in 2009. Between 2009 and 2014, Northumbria and Sunderland Universities were partners in the UK's first, and at that time only, Collaborative AHRC Block Grant. The partnership continues to be an innovative and path-breaking project that builds upon existing strength within the area of practice-led visual art research at both universities.


AHRC Block Grant Partnership Students

2013

  • Chris Evans (PhD, Northumbria) What is the relationship between a notion of ethical indifference serving as the impetus for a lucrative practice
  • Clare Stephenson (PhD, Northumbria) Critical performative strategies by female artists working within the field of contemporary sculpture
  • Rachel Welford (PhD, Sunderland) Transmission, Reflection and Emission of Light through Flat Glass - the Artistic Application of Coatings on Glass and the Manipulation of the Glass Surface to Alter Translucency and Reflectivity
  • Pawel Pronobis (MA Conservation of Fine Art, Northumbria)
  • Stephen Pritchard (PhD, Northumbria) Can participatory arts support sustainable social change in the UK?

2012

  • Kate Liston (PhD, Northumbria) What is the Relationship between the Deleuzian Idea of Mapping Space and Subject Formation through Narrative?
  • Jacqueline Donachie (PhD, Northumbria) I am not sick. I am affected. Representations of Families Affected by Disability
  • Jill Wann (PhD, Northumbria) Unknowledge Economies: Has Digital Discourse within the context of the online information explosion Rendered all Information Effectively Subjective?
  • Robert Hunter (PhD, Northumbria) Unknowledge Economies: Has Digital Discourse within the context of the online information explosion Rendered all Information Effectively Subjective?
  • Suzanne O'Hara (PhD, Sunderland) Collaborations between the digital and artistic sectors: how convergent, digital, technological platforms are informing curatorial practice for physical and digital spaces
  • Claire Richenda Todd (PhD, Sunderland) Making and Movement: creating kinaesthetic narratives through applied art practice

2011

  • Lucy Livingstone (PhD, Northumbria) Investigating the Threshold as a Location for Visual Research and the (re)Framing of Contemporary Critical
  • Pauline Murray (Professional Preparation Masters, MA, Conservation of Fine Art, Northumbria)
  • Sarah Noble (Professional Preparation Masters, MA, Conservation of Fine Art, Northumbria)
  • Daksha Patel (PhD, Northumbria) Imaging and Imagining the Brain
  • Erin Dickson (PhD, Sunderland) Looking through glass: The manipulation of light through digital design and manufacture in studio glass practice
  • Marialaura Ghidini (PhD, Sunderland): Curatorial variations of our time. Online practices and offline spaces

2010

  • Sylvia Steven (MA, Northumbria) The Framing of British Prints 1700 – 1900
  • Rebecca Mathew (MA, Northumbria) Peeling back the layers; the history of sanitary wallpaper from the late 19th century to the early 20th century, and a brief overview of their conservation
  • Juliet Chenery-Robson (PhD, Sunderland) The Visualisation of the Invisible Illness M.E
  • David Cushway (PhD, Sunderland) Expanding Ceramic Practice in the 21st Century

2009

  • Joanna Blackburn (Professional Preparation Masters, MA, Conservation of Fine Art, Northumbria)
  • Lucy Partridge (Professional Preparation Masters, MA, Conservation of Fine Art, Northumbria)
  • Nick Renshaw (PhD, Sunderland) The Standing, Nature, Potential and Significance of International, Cross-Cultural Ceramic Art Residencies
  • Marianne Wilde (PhD, Northumbria) Seeing and Saying: Making the Invisible Visible
  • Penny Grennan (Research Preparation Masters, MA, Conservation of Fine Art, Northumbria)
  • Ken Wilkes (Research Preparation Masters, MA, Conservation of Fine Art, Northumbria)