Lucy Reynolds has lectured and published extensively, examining questions of the moving image, feminism, political space and collective practice through her writing, curating and art projects.
Her articles have appeared in a range of journals such as Afterall, Screen, Screendance, Art Agenda and Millennium Film Journal, and she has curated exhibitions and film programmes for a range of institutions nationally and internationally, from Tate and MUHKA, Antwerp to the ICA and the South London Gallery. She has contributed chapters to publications on moving image histories including David Curtis, Duncan White (eds) The Expanded Cinema Book, Afterall/Tate publications, 2010; Bridget Crone (ed) The Sensible Stage: Staging and the Moving Image, Picture This publications, Bristol, 2012 (2nd ed 2018); London Art Worlds: Mobile, Contingent and Ephemeral Networks, 1960-1980 (eds. Jo Applin, Catherine Spencer, Amy Tobin), Penn State University Press, 2018 and Other Cinemas: Politics, Culture and Experimental Film in the 1970s (eds. Sue Clayton and Laura Mulvey), IB Tauris, July 2017.
As an artist, her films and installations have been presented in galleries and cinemas internationally, and her ongoing sound work A Feminist Chorus has been heard at the Glasgow International Festival, the Wysing Arts Centre, the Showroom and The Grand Action cinema, Paris. She is editor of the anthology Women Artists, Feminism and the Moving Image, co-editor of Artists Moving Image in Britain since 1989. She is co-editor of the Moving Image Review and Art Journal (MIRAJ).
For further information about Lucy’s research, supervision and teaching experience also see:
Art and Society
Explored through performance, installation, and ceramics, and between art and science, the diverse practices of CREAM researchers in this area are drawn together for their emphasis on critical and collective engagements with the question and role of art and society.