Dr Stacy Boldrick

Lecturer in Art Gallery and Museum Studies (AMAGS) and Programme Director, AMAGS




+44 (0)116 252 5409

I conduct research into the long history of iconoclasm or image breaking (the deliberate defacing, dismantling or destruction of works of art and historic artefacts) and its significance for social groups and institutions. I am currently writing a monograph exploring the museum’s attitudes to iconoclasm in the stories it tells about its objects through public display.

At Leicester, I am a lecturer and the Programme Director for the MA in Art Museum and Gallery Studies (AMAGS). I teach on modules 3 (Curating Now), 4 (Managing Art Collections) and regularly manage one of the two curatorial projects on module 6 (Expanding the Field).

I bring to the School expertise in medieval and contemporary art history and in curatorial practice. Before arriving at Leicester, I worked at The Fruitmarket Gallery, Edinburgh, the University of Edinburgh (VARIE) and the Henry Moore Institute, Leeds. Curatorial collaborations include Wonder: Painted Sculpture from Medieval England (Henry Moore Institute, Leeds, co-curated with David Park and Paul Williamson) and Art under Attack: Histories of British Iconoclasm (Tate Britain, co-curated with Tabitha Barber). I am part of an international Iconoclasms Network and an Honorary Fellow in History of Art, University of Edinburgh/Edinburgh College of Art.

I am interested in supervising PhD projects related to the expanded field of iconoclasm (including the destruction of art), provenance studies, transhistorical exhibitions and curatorial studies.

Select Publications

Books and Exhibition Catalogues

Iconoclasm and the Museum (Abingdon and New York: Routledge, forthcoming 2020).

Co-editor with Leslie Brubaker and Richard Clay, Striking Images: Iconoclasms Past and Present (Farnham: Ashgate, 2013; paperback, Abingdon and New York: Routledge, 2018).

Co-editor with Tabitha Barber, Art under Attack: Histories of British Iconoclasm (London: Tate, 2013).

Co-editor with Richard Clay, Iconoclasm: Contested Objects, Contested Terms (Aldershot: Ashgate, 2007; paperback, Abingdon and New York: Routledge, 2017).

Co-editor with David Park and Paul Williamson, Wonder: Painted Sculpture from Medieval England (Leeds: Henry Moore Institute, 2002). [‘Highly Commended’ Award, AXA/Art Newspaper Exhibition Catalogue Awards 2003.]

Selected Articles and Essays

“Transience: Curating Ephemeral Art”, chapter in S. Knell, ed., The Contemporary Museum (Abingdon and New York: Routledge, 2018).

“Speculations on the Visibility and Display of a Mortuary Roll”, chapter in Jack Hartnell, eds., Continuous Page. Scrolls and Scrolling from Papyrus to Hypertext (London: Courtauld Books Online, forthcoming).

“Trash as Trash as Art: Reflections on the Preservation and Destruction of Waste in Artistic Practice”, NANO: New American Notes Online (http://www.nanocrit.com/), Issue 7: The Aesthetics of Trash, 2015.

“In Conversation: The New Iconoclasm”, with M. O’Neil et al., Material Religion, 10/3 (September 2014), pp. 376-385.

“Exchange Values (Death is 12.954 Meters Long)”, The Federal 3 (November 2012), pp.13-20.

“Marion Lehmann. Die Unmöglichkeit der Objekte”, in Kunsthalle Wilhelmshaven Nordwestkunst 2011 (Wilhelmshaven: Kunsthalle Wilhelmshaven, 2012).

“Skeletons Within” in Lucy Skaer (Edinburgh: The Fruitmarket Gallery, 2008).

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