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Update, December 2022: I am gradually uploading some of the articles and essays I have written to my ResearchGate profile.
© Dominic Blake 2016-2023 | dominicblakeartist@gmail.com | London
Lecture | Faculty of Classics, University of Cambridge | February 2023.
Lecture | Faculty of Classics, University of Cambridge | February 2023.
Lecture | Faculty of Classics, University of Cambridge | February 2023.
The National Gallery | Lecture, 'Symbiosis through Sitting', January 2023
The National Gallery: 'Symbiosis through Sitting', mini-lecture followed by a conversation with Matthew Morgan, director of Turner's House Museum. Part of the programme of events for the NG's Freud exhibition. 30 Jan 2023.
The National Gallery | Lecture, 'Symbiosis through Sitting', January 2023
The National Gallery: 'Symbiosis through Sitting', mini-lecture followed by a conversation with Matthew Morgan, director of Turner's House Museum. Part of the programme of events for the NG's Freud exhibition. 30 Jan 2023.
Paper for presentation at BSA Symposium: 'Revaluing the Life Model in Art Practice' at the Aesthetics Research Centre at the University of Kent, May 2022. I am co-curator of the symposium.
Abstract
The role of the life model is inextricably linked with the Western academic traditions of fine art associated with the emergence of the art academies during the Renaissance, popularised in the 17th and 18th centuries by the Académie Royale de Peinture et Sculpture in Paris and the Royal Academy of Arts in London. The academies have become the filters via which the life model is interpreted and understood, shaping contemporary attitudes and giving rise to cultural paradigms suggesting that models are servants, or mercenary drawing instruments. By extension, life models have been thought of as muses, providing the inspiration for artists to create their work via their emotional engagement. However, life modelling is a complex, skilled practice, models fulfilling myriad roles beyond those defined by these paradigms. Given the determining factors of motivation and context, modelling might itself become a physical mode of artistic practice within which the model uses their body as their medium to create works of art within the realm of performance art or contemporary dance. These self-choreographed or spontaneous artistic acts may occur either in creative symbiosis with other artists, or beyond the studio / life room environment in alternate contexts including museum and gallery settings. Differing contexts may foster new perceptual frameworks of understanding on the part of the viewer; removed from previous paradigmatic shackles, the models artistry may be unambiguously revealed.
© Dominic Blake, 2016-22
The role of the life model is inextricably linked with the Western academic traditions of fine art associated with the emergence of the art academies during the Renaissance, popularised in the 17th and 18th centuries by the Académie Royale de Peinture et Sculpture in Paris and the Royal Academy of Arts in London. The academies have become the filters via which the life model is interpreted and understood, shaping contemporary attitudes and giving rise to cultural paradigms suggesting that models are servants, or mercenary drawing instruments. By extension, life models have been thought of as muses, providing the inspiration for artists to create their work via their emotional engagement. However, life modelling is a complex, skilled practice, models fulfilling myriad roles beyond those defined by these paradigms. Given the determining factors of motivation and context, modelling might itself become a physical mode of artistic practice within which the model uses their body as their medium to create works of art within the realm of performance art or contemporary dance. These self-choreographed or spontaneous artistic acts may occur either in creative symbiosis with other artists, or beyond the studio / life room environment in alternate contexts including museum and gallery settings. Differing contexts may foster new perceptual frameworks of understanding on the part of the viewer; removed from previous paradigmatic shackles, the models artistry may be unambiguously revealed.
© Dominic Blake, 2016-22
RCA | Lecture: 'Are Life Models Artists?', 23.02.22.
In 2016, I conceived a novel art historical theory grounded in my experiences working as a life model at the Royal Academy of Arts, which I wrote about and discussed in a lecture series, 'Are Life Models Artists?', at venues including The National Gallery, the Royal College of Art and Mall Galleries.
Examining life modelling through art historical and experiential perspectives I explore the existential realms within which the practice exists. While not claiming in an absolute sense that modelling is an art form, I advocate a more enlightened perspective according to which it might become one within the realm of performance art or dance according to the determining factors of motivation and context. 'Are Life Models Artists?' is an ongoing enquiry.
In preparation for my lectures I interviewed the Directors of several major galleries, museums and private collections, practicing artists, Life Models and curators to gain their insight into the question I posed. Included within the group of interviewees was Christopher Le Brun, Past President, Royal Academy of Arts; Simon Martin, Director, Pallant House Gallery; Jo Baring, Director, The Ingram Collection; Lara Wardle, Director Curator, The Jerwood Collection; Gill Saunders, Senior Curator, V&A Department of Word and Image; JJ Delvine, Artist (BP Portrait Award 2018, 2011, 2006); Desmond Healy, Artist and Fine Art Tutor; John Close, Artist and Fine Art Tutor; Suzon Lagarde, Portrait Artist and Life Model; Robin George, Life Model.
I also worked with Dr Darren Clarke, Head of Collections and Research at The Charleston Trust and am grateful to Eileen Cooper (RA) and Professor Jean Wainwright for their enduring support.
The Royal College of Art invited me to deliver a public lecture, the fifth in my series, in February 2022.
Examining life modelling through art historical and experiential perspectives I explore the existential realms within which the practice exists. While not claiming in an absolute sense that modelling is an art form, I advocate a more enlightened perspective according to which it might become one within the realm of performance art or dance according to the determining factors of motivation and context. 'Are Life Models Artists?' is an ongoing enquiry.
In preparation for my lectures I interviewed the Directors of several major galleries, museums and private collections, practicing artists, Life Models and curators to gain their insight into the question I posed. Included within the group of interviewees was Christopher Le Brun, Past President, Royal Academy of Arts; Simon Martin, Director, Pallant House Gallery; Jo Baring, Director, The Ingram Collection; Lara Wardle, Director Curator, The Jerwood Collection; Gill Saunders, Senior Curator, V&A Department of Word and Image; JJ Delvine, Artist (BP Portrait Award 2018, 2011, 2006); Desmond Healy, Artist and Fine Art Tutor; John Close, Artist and Fine Art Tutor; Suzon Lagarde, Portrait Artist and Life Model; Robin George, Life Model.
I also worked with Dr Darren Clarke, Head of Collections and Research at The Charleston Trust and am grateful to Eileen Cooper (RA) and Professor Jean Wainwright for their enduring support.
The Royal College of Art invited me to deliver a public lecture, the fifth in my series, in February 2022.
Charleston Press No. 4 | Chapter: 'Model and Artist in One Body', 2021.
Charleston: 'Model and Artist in one body'; chapter co-authored with Dr. Aurélie Debaene within Charleston Press No. 4, a journal inspired by the 2021 Charleston exhibitions Nina Hamnett and Lisa Brice. Commissioned by The Charleston Trust.
Aesthetica Magazine, August 2021, Contributing writer: 'Art on the Airwaves'
The National Gallery | Lecture: 'Are Life Models Artists?', 2019.
In 2016, I conceived a novel art historical theory grounded in my experiences working as a life model at the Royal Academy of Arts, which I wrote about and discussed in a lecture series, 'Are Life Models Artists?', at venues including The National Gallery, the Royal College of Art and Mall Galleries.
Examining life modelling through art historical and experiential perspectives I explore the existential realms within which the practice exists. While not claiming in an absolute sense that modelling is an art form, I advocate a more enlightened perspective according to which it might become one within the realm of performance art or dance according to the determining factors of motivation and context. 'Are Life Models Artists?' is an ongoing enquiry.
In preparation for my lectures I interviewed the Directors of several major galleries, museums and private collections, practicing artists, Life Models and curators to gain their insight into the question I posed. Included within the group of interviewees was Christopher Le Brun, Past President, Royal Academy of Arts; Simon Martin, Director, Pallant House Gallery; Jo Baring, Director, The Ingram Collection; Lara Wardle, Director Curator, The Jerwood Collection; Gill Saunders, Senior Curator, V&A Department of Word and Image; JJ Delvine, Artist (BP Portrait Award 2018, 2011, 2006); Desmond Healy, Artist and Fine Art Tutor; John Close, Artist and Fine Art Tutor; Suzon Lagarde, Portrait Artist and Life Model; Robin George, Life Model.
I also worked with Dr. Darren Clarke, Head of Collections and Research at The Charleston Trust, and am indebted to Eileen Cooper (RA) and Professor Jean Wainwright for their enduring support.
Examining life modelling through art historical and experiential perspectives I explore the existential realms within which the practice exists. While not claiming in an absolute sense that modelling is an art form, I advocate a more enlightened perspective according to which it might become one within the realm of performance art or dance according to the determining factors of motivation and context. 'Are Life Models Artists?' is an ongoing enquiry.
In preparation for my lectures I interviewed the Directors of several major galleries, museums and private collections, practicing artists, Life Models and curators to gain their insight into the question I posed. Included within the group of interviewees was Christopher Le Brun, Past President, Royal Academy of Arts; Simon Martin, Director, Pallant House Gallery; Jo Baring, Director, The Ingram Collection; Lara Wardle, Director Curator, The Jerwood Collection; Gill Saunders, Senior Curator, V&A Department of Word and Image; JJ Delvine, Artist (BP Portrait Award 2018, 2011, 2006); Desmond Healy, Artist and Fine Art Tutor; John Close, Artist and Fine Art Tutor; Suzon Lagarde, Portrait Artist and Life Model; Robin George, Life Model.
I also worked with Dr. Darren Clarke, Head of Collections and Research at The Charleston Trust, and am indebted to Eileen Cooper (RA) and Professor Jean Wainwright for their enduring support.
Mall Galleries | Lecture: 'Are Life Models Artists?' | 2019.
In 2016 I conceived a lecture series, 'Are Life Models Artists?', the first of which I delivered at Mall Galleries, London in 2019 and then at venues including Hampstead School of Art, The National Gallery and the Royal College of Art.
Examining Life Modelling through art historical and experiential perspectives I discuss the existential realms within which the practice exists. While not claiming in an absolute sense that Life Modelling is an artistic practice, I advocate a more enlightened perspective proposing that it might be given two determining factors: motivation and context.
In preparation for my lectures I interviewed the Directors of several major galleries, museums and private collections, practicing artists, Life Models and curators to gain their insight into the question I posed. Included within the group of interviewees was Christopher Le Brun, Past President, Royal Academy of Arts; Simon Martin, Director, Pallant House Gallery; Jo Baring, Director, The Ingram Collection; Lara Wardle, Director Curator, The Jerwood Collection; Gill Saunders, Senior Curator, V&A Department of Word and Image; JJ Delvine, Artist (BP Portrait Award 2018, 2011, 2006); Desmond Healy, Artist and Fine Art Tutor; John Close, Artist and Fine Art Tutor; Suzon Lagarde, Portrait Artist and Life Model; Robin George, Life Model.
I also worked with Dr. Darren Clarke, Head of Collections and Research at The Charleston trust, and am indebted to Eileen Cooper (RA) and Professor Jean Wainwright for their enduring support.
The Mall Galleries invited me to deliver the first lecture in my series.
Examining Life Modelling through art historical and experiential perspectives I discuss the existential realms within which the practice exists. While not claiming in an absolute sense that Life Modelling is an artistic practice, I advocate a more enlightened perspective proposing that it might be given two determining factors: motivation and context.
In preparation for my lectures I interviewed the Directors of several major galleries, museums and private collections, practicing artists, Life Models and curators to gain their insight into the question I posed. Included within the group of interviewees was Christopher Le Brun, Past President, Royal Academy of Arts; Simon Martin, Director, Pallant House Gallery; Jo Baring, Director, The Ingram Collection; Lara Wardle, Director Curator, The Jerwood Collection; Gill Saunders, Senior Curator, V&A Department of Word and Image; JJ Delvine, Artist (BP Portrait Award 2018, 2011, 2006); Desmond Healy, Artist and Fine Art Tutor; John Close, Artist and Fine Art Tutor; Suzon Lagarde, Portrait Artist and Life Model; Robin George, Life Model.
I also worked with Dr. Darren Clarke, Head of Collections and Research at The Charleston trust, and am indebted to Eileen Cooper (RA) and Professor Jean Wainwright for their enduring support.
The Mall Galleries invited me to deliver the first lecture in my series.
University of Leeds School of Fine Art, History of Art and Cultural Studies | 'Are Life Models Artists?' | March 2023
Lecture | University of Leeds School of Fine Art, History of Art and Cultural Studies, March 2023
HSoA | Lecture: 'Are Life Models Artists?', 2019.
In 2016, I conceived a novel art historical theory grounded in my experiences working as a life model at the Royal Academy of Arts, which I wrote about and discussed in a lecture series, 'Are Life Models Artists?', at venues including The National Gallery, the Royal College of Art and Mall Galleries.
Examining life modelling through art historical and experiential perspectives I explore the existential realms within which the practice exists. While not claiming in an absolute sense that modelling is an art form, I advocate a more enlightened perspective according to which it might become one within the realm of performance art or dance according to the determining factors of motivation and context. 'Are Life Models Artists?' is an ongoing enquiry.
In preparation for my lectures I interviewed the Directors of several major galleries, museums and private collections, practicing artists, Life Models and curators to gain their insight into the question I posed. Included within the group of interviewees was Christopher Le Brun, Past President, Royal Academy of Arts; Simon Martin, Director, Pallant House Gallery; Jo Baring, Director, The Ingram Collection; Lara Wardle, Director Curator, The Jerwood Collection; Gill Saunders, Senior Curator, V&A Department of Word and Image; JJ Delvine, Artist (BP Portrait Award 2018, 2011, 2006); Desmond Healy, Artist and Fine Art Tutor; John Close, Artist and Fine Art Tutor; Suzon Lagarde, Portrait Artist and Life Model; Robin George, Life Model.
Examining life modelling through art historical and experiential perspectives I explore the existential realms within which the practice exists. While not claiming in an absolute sense that modelling is an art form, I advocate a more enlightened perspective according to which it might become one within the realm of performance art or dance according to the determining factors of motivation and context. 'Are Life Models Artists?' is an ongoing enquiry.
In preparation for my lectures I interviewed the Directors of several major galleries, museums and private collections, practicing artists, Life Models and curators to gain their insight into the question I posed. Included within the group of interviewees was Christopher Le Brun, Past President, Royal Academy of Arts; Simon Martin, Director, Pallant House Gallery; Jo Baring, Director, The Ingram Collection; Lara Wardle, Director Curator, The Jerwood Collection; Gill Saunders, Senior Curator, V&A Department of Word and Image; JJ Delvine, Artist (BP Portrait Award 2018, 2011, 2006); Desmond Healy, Artist and Fine Art Tutor; John Close, Artist and Fine Art Tutor; Suzon Lagarde, Portrait Artist and Life Model; Robin George, Life Model.
Travelling the Great Circle | Book, published by Kscope Music, January 2022. Available via Barnes and Noble in the U.S. and Rough Trade Music in the U.K.
Travelling the Great Circle | Book, published by Kscope Music, January 2022. Available via Barnes and Noble in the U.S. and Rough Trade Music in the U.K.
V&A | 'Subverting Beauty: The Greek and Roman body and Donatello', lecture, Lydia and Manfred Gorvy Lecture Theatre, March 2023', short talk (in tandem with the exhibition Donatello: New Perspectives), Lydia & Manfred Gorvy Lecture Theatre, 31 March 2023
V&A | 'Subverting Beauty: The Greek and Roman body and Donatello', lecture, Lydia and Manfred Gorvy Lecture Theatre, March 2023.
V&A | Panel discussion': Dominic Blake and Whiskey Chow in conversation with Dan Vo' (a response to the exhibition 'Donatello: Sculpting the Renaissance'), March 2023.
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