Stacey Kennedy

University of Oxford, Department for Continuing Education, Lecturer

University of Oxford, History of Art, Examiner

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Doctoral study investigated women artists and networking in the African modern and contemporary art field. Interested in African art in exhibition and the University art collection. Currently researching the comissioning of art as memorial.
Supervisors: Dr Juliet Gilbert, Dr Rebecca Jones, Dr Benedetta Rossi, Dr Amy Rushton, and Prof Khadija von Zinnenburg Carroll
Phone: +447557887544
Address: 17 Newport Drive, Alcester
Alcester

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Papers by Stacey Kennedy

Unsettling the Archive Clara Etso Ugbodaga-Ngu and the Danford Collection

Third Text, 2024

This article contributes to debates around African cultural heritage preserved in European archiv... more This article contributes to debates around African cultural heritage preserved in European archives and museum institutions. It offers a critical analysis of the Danford Collection of West African Art and Artefacts (University of Birmingham) that unsettles the collection to reveal its archival silences. Unsettling the archive reveals the power relations underlying practices of accumulation and exhibition. Yet although exposing silences and elisions, it reveals surprising and overlooked presences, such as a rare painting from 1960 by Nigerian artist Clara Etso Ugbodaga-Ngu. The article focuses on Ugbodaga-Ngu’s life and work so as to enrich and expand our understanding of the Danford Collection and the way in which the heritage it contains is presented and understood. It sheds light on the way institutions, such as University of Birmingham, have historically gathered material originating from or relating to the African continent and its inhabitants, whether of colonial or more recent production, which in turn reveals the need for more inclusive approaches to reading the archive that recognise the multiplicity of voices therein.

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Interlude

by Barbara Preisig, Astrid N. Korporaal, Stacey Kennedy, and Marie Meyerding

Third Text, 2024

This interlude follows the AAH conference, when all of the authors who contribute to the special ... more This interlude follows the AAH conference, when all of the authors who contribute to the special journal edition are present. Their wide-ranging conversation covers the idea and possibilities of a polyphonic history of art. This interlude is a starting point, a jumping off point from where a group of authors, researchers and artists reflect on new ways of thinking about, and new ways of presenting, art history. Their conversation develops an ambition to move away from the well-trodden and often reductive methodological frameworks of art history, as they debate ideas around transnationalism, globalism, artist-centric art histories and the idea of artist as author. This interlude is about collective endeavours, both by the subjects being discussed in each paper, and by the authors who are writing about them.

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