Dr Tina Kinsella
Previous to being appointed as Head of Department she was Lecturer in Critical and Contextual Studies/Visual Culture on the BA (Hons) Art programme and the MA in Art + Research Collaboration at IADT and she continues to contribute to these programmes and other undergraduate/postgraduate programmes in the Faculty of Film, Art + Creative Technologies at IADT.
Dr Kinsella is also on the Faculty of the Economy and Society Summer School organised by University College Cork and Waterford Institute of Technology and has external examiner experience at doctorate and undergraduate level at KU Leuven University, the University of Leeds, Dublin City University and the Crawford College of Art and Design.
Informed by her educational background in philosophy, classics, ancient Greek drama, visual culture and her interest in contemporary artistic practice, Tina’s research is fundamentally interdisciplinary and collaborative. Her research activities span academic publishing and public speaking/broadcasting, as well as curatorial projects and collaborative artistic practices. Her PhD thesis, completed in 2014 and entitled ‘Bracha L. Ettinger’s Matrixial Theory and Aesthetics: Matrixial Flesh and the Jouissance of Non-life-in-Life’, investigated the ontological implications of the artistic practice and Matrixial Theory of Bracha L. Ettinger. In 2008 she completed an MPhil at the Centre for Gender and Women’s Studies, Trinity College Dublin, entitled ‘Aosdàna and the Female Visual Artist’.
Tina has published widely in the fields of contemporary art practice, visual culture, aesthetics, performance studies, philosophy, psychoanalysis, anthropology and legal studies. She is currently working on a monograph on contemporary female artists’ relationship to, and interrogation of, surrealism.
|‘A Cord that is Never Done Away With: An Aesthetic Ontology of the Pre-Birth Scene with Francesca Woodman and Bracha L. Ettinger’. Maternal Structures in Art: Intergenerational Discussions on Motherhood and Creative Work (Elena Marchevska and Valerie Walkerdine eds). Oxford: Routledge||2020|
|‘The Artistic Practice of Micol Hebron: Provoking a Performative Heuristics of the Maternal Body’. Inappropriate Bodies: Art, Design and Maternity (Rachel Epp Buller and Charles Reeved eds). Ontario: Demeter Press||2019|
|‘O Children in God’s name slay not your mother!’. Tremble, Tremble / Tremate, Tremate (Jesse Jones and Ireland at Venice, 57th Venice Biennale). Mousse Publishing and Project Arts Centre||2017|
|‘In nome degli Dei, non uccidete la madre, o figli’. Tremble, Tremble / Tremate, Tremate (Jesse Jones and Ireland at Venice, 57th Venice Biennale). Mousse Publishing and Project Arts Centre||2017|
|‘Sundering the Spell of Visibility: Bracha L. Ettinger, Abstract-Becoming-Figural, Thought-Becoming-Form’. And My Heart Wound-Space (Griselda Pollock ed.). Leeds: Wild Pansy Press||2015|
|‘Colonising Kahlo: Frida Kahlo and the Transcultural Encounter’. Transcultural Encounters Amongst Women: Redrawing Boundaries in Hispanic and Lusophone Art, Literature and Film. Newcastle: Cambridge Scholars Publishing||2010|
|‘Legal Aesthetics in The Touching Contract: Memory, Exposure and Transformation’. Law, Culture and the Humanities Journal. Newbury Park: Sage||2020|
|‘Alice Maher’s Berry Dress’. Visual Artists Newsletter, Special Issue: ‘Four Decades of Irish Sculpture’.||2020|
|‘Representing Desire? Reconsidering Female Sexuality and Eroticism in Umbilical’. Performance Ireland Journal, Special Issue: ‘Gender, Sexuality and the City’. Carysfort Press||2018|
|‘Corporeal Matters: Tina Kinsella Interviews Alice Maher about her Touring Exhibition Vox Materia’. Visual Artists Newsletter||2018|
|‘Queering and Querying the Virgin: Sacred Iconography and Profane Iconoclasticism in the Art of Frida Kahlo’. Esthesis.||2018|
|‘Precarious Subjectivity and Affective Performativity in the Academic Precariat’. Irish Journal of Anthropology (20:1)||2017|
|‘Liquidities―Transactive Border Spaces and Threshold Structures (Between the Harbour and the Sea) [co-authored with Silvia Loeffler]. Performance Research Journal, Vol. 21, Issue 2: ‘On/At Sea’||2016|
|‘Will the Mistresses Tools Dismantle the Master’s House? Griselda Pollock on Creative Practices as Dissidence in the Feminist Century’. Commissioned blog post. Irish Museum of Modern Art,||2016|
|‘Sticky Mothers―From Crypt to Transcrypt: A Response to Dragan Kujundžic’s Frozen Time. Liquid Memories’. Interkulturalnost/Interculturality Journal||2015|
|‘Towards Thinking a Desideratum of Art. Critical Bastards, Volume VII||2012|
|‘James Hayes―Looking into the Light of Dark Matter’. Enclave Review, Vol. II (Autumn)||2011|
|‘The Banal and the Evident: Pornography, Technology and the Market’. The Trinity College Journal of Postgraduate Studies||2008, 2009, 2010|
|‘Gaping Mouth’d: On the Politics of the Body in the Work of Aideen Barry and Alice Maher’. Fair is Foul & Foul is Fair. Washington DC: American University Museum and Katzen Arts Center||2019|
|‘Living Theatre, Living Music’. Monir Shahroudy Farmanfarmaian’s Sunset Sunrise. Irish Museum of Modern Art||2018|
|‘Accessing Sublimatory Routes in the Inner Space of Painting: Iconography, Figurality and Symbology in the Art of BRACHA’. UB Anderson Gallery, New York||2018|
|‘THERE IS SO MUCH FOR YOU TO FEEL: Three Theses Towards a TTOP(ONT)OLOGY’, Denis McNulty’s TTOPOLOGY. VISUAL Carlow and Grazer Kunstverein, Ireland and Austria||2018|
|‘Does Every Psychotic Have to Reinvent the Project of Modernity for Herself?’. As Above, So Below―Portals, Visions, Spirits, Mystics. Irish Museum of Modern Art, Dublin||2017|
|‘MISERICORDIA― Making “Maternal Emotions” Manifest’. Patricia Cronin’s Shrine for Girls. The LAB - Dublin City Arts Office||2017|
|‘This is the fluid in which we meet … On Alice Maher’s Recent Drawings’. Alice Maher’s The Glorious Maids of the Charnel House. Kevin Kavanagh Gallery, Dublin||2016|
|‘Un(der)Cover on Sherkin Island’ [co-authored with Dr Lucy Dawe-Lane]. Uncover. Uillinn West Cork Arts Centre||2016|
|‘Painting the Feminine into Ontology: On the Recent Works of Bracha L. Ettinger’. Museo Leopoldo-Flores/Galeria Poliavalente, Mexico||2015|
|‘… you are only one thing amongst many, and whoever sees things that way heals his heart’. Ciara McMahon’s Liminality. NCAD Gallery, Dublin||2011|