Dr Andrew Stephenson is Field Leader in Visual Theories at the University of East London. He completed his PhD at the University of Edinburgh and he is a specialist in late nineteenth-century and twentieth-century British art and visual culture.

Andrew Stephenson is the Field Leader responsible for the delivery of undergraduate modules within Visual Theories on the Contemporary Art and Visual Media degree pathway and for historical and theoretical modules supporting practice areas in the School of Arts and Digital Industries. Andrew teaches courses in contemporary critical theories, issues of representation, gender and sexuality and on sculpture, performance, video and installation art. He is also Associate Research Leader within the School for Art and Design in the coming REF.

Andrew Stephenson's research interests include the relationship between British art, design, fashion and visual culture; questions around masculinity and artistic self-fashioning, visual culture of the inter-wars years in Britain and the development of the London art market.

Contemporary Art and Visual Media

• VT2001: State of the Arts 1
• VT2009 Issues in Sculpture, Video, Performance and Installation Art
• VT2031 Critical Concepts
• VT3001 Methodologies and Theories of Art and Visual Culture.

Andrew's most recent publications include:

• 'Painting and Sculpture of a Decade '54-'64' revisited', Art History, New Approaches to British Art 1939-69, (2012)  

• ‘Edwardian Cosmopolitanism c.1901-1912’ in Michael Hatt and Morna O’Neill (eds),

• The Edwardian Sense: Art and Experience in Britain 1901-10, (Paul Mellon Centre for Studies in British Art / Yale University Press, 2010),

• ‘Paris Hollywood’: Viewing Parisian modernity through the lens of the Séeberger Brothers, 1909-39’ in Fiona Fisher, Trevor Kemble, Patricia Lara-Betancourt and Brenda Martin (eds),

• Performance, Fashion and the Modern Interior: From the Victorians to Today, (Berg, 2011),

• ‘Strategies of Display and Modes of Consumption in London art galleries in the Inter-war years, c.1919-40’ in Pamela Fletcher and Anne Helmreich (eds),

• The Rise of the Modern Art Market in Europe 1850-1939, (Manchester University Press, 2011);

• ‘Questions of artistic identity, self-fashioning and social referencing in the work of the Camden Town Group, c.1905-1914’, The Camden Town Group Online Research Project, (Tate Britain / Getty, on-line 2012) and

• ‘Wonderful pieces of stage-management’: Masculine fashioning, Race and Imperialism in J.S. Sargent’s British portraits, c.1897-1907’ in Julie Codell (ed.) The Art of Transculturation, Cross-cultural Exchanges in British Art, 1770-1930 (Ashgate Press, 2011).

Andrew's previous publications include:

• ‘Telling Decoratively’: Ben Nicholson’s white reliefs and debates around abstraction and modernism in the home in the late 1920s and 30'Harlem' (1934)’ in David Bindman and Chris Stephens (eds.) A History of British Art, volume 3: 1870 – Now, Tate Gallery / Paul Mellon Centre for the Study of British Art, Tate Publishing, 3 vols. (2008);

• ‘Palimpsestic promenades: memorial sculpture and the urban consumption of space in post-1918 London’ in Julie Codell, The Political Economy of Art, Fairleigh Dickinson University Press, (2008);

• ‘Posing and performance: the problematics of homosocial visibility and its articulations in late Nineteenth-century London artworld’, Visual Culture in Britain, vol. 8 no. 1, (2007);

• ‘A keen sight for the signs of the races’: John Singer Sargent, ‘whiteness’ and the fashioning of Anglo-performativity’ in Visual Culture in Britain, vol.6 no 2. (2005);

• ‘Sculpture and its conditions of display 1925-50’ in Penelope Curtis (ed.) Sculpture in Twentieth-century Britain , Volume 1: Identity, Infrastructures, Aesthetics, Display, Reception, Leeds, Henry Moore Institute, (2003);

• ‘Thomas Stirling Lee’ in Penelope Curtis (ed.) Sculpture in Twentieth-century Britain , Volume 2: A Guide to Sculptors in the Leeds Collections, Leeds, Henry Moore Institute, (2003);

• ‘Staging Authenticity:Tourist spaces and artistic inscription in inter-war English art’ in Visual Culture in Britain, Vol. 4 No. 1 (2003);

• 'Feminine Anatomies of Taste and Cultures of Collecting in early Twentieth-Century Britain: Gwendoline and Margaret Davies as Women Art Patrons' in Aurora: the Journal of the History of Art edited by Joanna Gardner-Huggett and Lilian Zirpolo, Volume 4, (November 2003)

Andrew Stephenson is a member of the UK Association of Art Historians and the US College Art Association.