BA (Hons) Fine Art, Glasgow School of Art, MA History of Art, PhD History of Art (both University of Leeds)
Amy Charlesworth joined the Open University in January 2015 having previously taught part-time at the University of Leeds, Loughborough University and the University of Bradford. Amy has also worked for a number of organisations in the arts and culture sector such as The Association for Art History, The Henry Moore Institute, Pavilion, Gallery II (University of Bradford) and the Arts Council Collection.
Amy's research is focussed on lens-based media in the twentieth and twenty-first century, including photography, film, video art and the the histories these mediums share with art and visual culture. She is particularly interested in moving-image installation and documentary histories. Her current research is focussed on the film and video essay, documentary and post colonialism; and gender and technology in moving-image and new media work of the 1980s and 1990s (focussed, in particular, in the US cities of Chicago and Los Angeles). Amy has presented her research at the annual confernece organised by the journal Historical Materialism; the annual Association of Art Historians conference; Royal College of Art, London; and the Centre for Contemporary Art, Glasgow. Amy's research is often produced with and augmented by her close work with artists and curators, this in turn involves her curating exhibitions, commissioning new work, screenings and public events (some of which can be viewed via the Working Images link on this page).
'Whose Housework, Whose Artwork? The Voice of Domestic Workers’ co-written with Marissa Begonia, ‘Feminist Art Activisms and Artivisms (Amsterdam: Valiz, 2020) forthcoming, March 2020
'Contemporary art: movement, migration and other histories', Art after empire: from colonialism to Globalisation, ed. Warren Carter, (Manchester: Manchester University Press; Open University, 2018)
A Charlesworth, 'Absence and Saturation in Chantal Akerman's De l'autre côté (From the Other Side)' The Oxford Art Journal, 40/2, Spring 2017
A Charlesworth, 'The 1970s and Today' (review essay), The Oxford Art Journal, Volume 39, Number 1, 2016
A Charlesworth, 'Caught between the factory and the home: re-visiting feminist ‘documentary’ aesthetics under globalized capital', Third Text Volume 29, Issue 1-2, 2015
A Charlesworth, 'Navigating spheres, shifts in emphasis: the documentary, the video essay and the social', Art & the Public Sphere, 3 (1), 2014, pp. 31-44
A Charlesworth, ‘”Warte Mal!” Construction and Consumption of Female Subjectivity after the Velvet Revolution’, Studia Politica: Romanian Political Science Review, Special Issue ‘Art and Politics’ Vol. X1, no. 4, December, 2011, pp. 621-631
Writing and curatorial work
'It's not personal, it's drag*: some thoughts on Kathryn Elkin's Queen, commissioned short essay for New Artist Focus, Lux (Artist Moving Image), February 2019
'Once more, or always? some reflections on women and work in film and video of the 1970s and 1980s', SITUATIONS, Fotomuseum, Winterhur, 2016
'Voice in Ursula Biemann's Performing the Border', Dissect journal, Issue 3, Autumn 2016
'On Reporting, the Documentary and the Aesthetic in Ursula Biemann and Angela Sanders’ Europlex’, Ibrazz: contemporary visual culture in North Africa and the Middle East, 2013
'Material Things: Paul Coldwell, Sculptures and Prints', exhibition catalogue, Gallery II, University of Bradford and Arts Council England, 2015, ISBN: 978-0-9931769-0-6
'Electronic Superhighway 2016–1966', The Whitechapel Gallery, London, 29 January– 15 May 2016, Art and the Public Sphere, 5:1, 2016
'All the Word's Futures: Looking back at the Venice Biennial', Red Pepper, Jan 2016
'How to Construct a Time Machine', MK Gallery, Milton Keynes, UK, Art and the Public Sphere, 3:2, 2016
'Realism, Feminism and the Documentary Impulse', paper and co-panel convenor, Annual 12th Historical Materialism conference, Birkbeck, London, November 2015
'Unfinished Business: the persistence of the public-private relation in "feminist art practice" since the 1970s', House, Work, Artwork: Feminism and Art History's New Domesticities, University of Birmingham, UK, 3-4 July 2014
'Polyvocal Subjects: Female Voice in Artist’s Film and Video', Centre for Contemporary Art, Glasgow, June 2014
'Situating the Essay in the “Documentary” Turn of Artist’s Film and Video’, The Essay, Royal College of Art, May 2014
‘Picturing the Border in Contemporary Art Praxis post 1989’, Borderscapes, Loughborough University, October 2013
‘Between the Factory and the Home: Re/production in the 21st Century and the Labour Question for Contemporary Art’, Annual 9th Historical Materialism conference, Birkbeck, London, November 2012
Amy is currently chair of A844, part two of our MA in Art History (and deputy chair of A843, the first part of our MA in Art History). She is a contributing author to the third-year level A344 Art and its Global Histories. She has chaired AA318 Art of the Twentieth Century and is also working on the production of our new Level 1 (A111) module. From 2016 - 2018 Amy was also part of the steering group for Open Arts Objects, short (open access) films with teaching support material dedicated to the objects of art history and the skills of visual analysis.
Students interested in modern and contemporary art history and theory; aesthetics and politics; visual culture; moving-image art; critical approaches to relational aesthetics; lens-based media and gender and feminism should contact Amy Charlesworth via email.
Since 2013 Amy has worked closely with the grass-roots national campaign group Justice 4 Domestic Workers (now The Voice of Domestic Workers) alongside partnerships with visual arts organisations, The Showroom (London) Pavilion (Leeds), artist Rehana Zaman and Leeds Animation Workshop (LAW). This collaboration emerged from Amy's interest in the politics of representation and the histories and relation between so-callled 'women's work' and the role of the camera in the Women's Movement in th UK. Contributions ranged from starting and co-running a branch in the north of England, comissioning and developing a film, workshops with the public, talks and screenings, fundraising and site maintanence for the organisation's website. Working within these partnerships has also enabled considered and continual renegotiation around the politics of collaboration and art pedagogy. In 2016 the commissioned film, They Call Us Maids: The Domestic Workers' Story was shortlisted for the prestigious AHRC Research in Film Awards.
External Examiner for Fine Art (BA Hons) at Newcastle University, 2018 - 2021
Academic Reviewer for Leeds City College 2017 - 2019