Tamara Trodd lectures in twentieth-century and contemporary art, with a special focus on artists' film.
Tamara gained her PhD in 2005 from University College London, where she was supervised by Professor Briony Fer and Professor Frederic J. Schwartz. Before joining the University of Edinburgh in 2010, she worked at the universities of St Andrews, Glasgow and Cambridge, where she was a Fellow of Lucy Cavendish College (2009-2010). She was awarded a Philip Leverhulme Prize in 2013 and a Leverhulme Trust Research Fellowship from September 2022 - December 2023.
In 2024-25 I will teach the following special option courses:
Contemporary Artists' Film and Video (PGT)
Examining Exhibitions: How Histories of Modern and Contemporary Art are (Re)Made Through Exhibitions (4th year)
The Minimalist Moment: American Art, 1960-75 (3rd year)
In addition I contribute to the following team-taught courses:
Research Theories and Methods (PGT)
The Cultures and Politics of Display (PGT)
History of Art 2B: From Modernism and the Avant-Gardes to Postmodernism and the Culture Industry (UG)
I am currently completing a book, Realism Reconfigured: Historical Returns in Contemporary Moving-Image Art, focusing on examples of artists’ film and video work (including William Kentridge, Amalia Ulman, Melanie Gilligan, Ryan Trecartin and Lizzie Fitch, and Elizabeth Price) in relation to examples of 'realist' art and writing from the 1930s. Research for this book was supported by the award of a Leverhulme Research Fellowship in 2022-2023.
My early-career research focused on the theme of technology in modern and contemporary art, looking in particular at the impact of photography and film as technologies of mechanical reproduction. My book, The Art of Mechanical Reproduction: Technology and Aesthetics from Duchamp to the Digital (University of Chicago Press, 2015) examines the impact of the idea of ‘mechanical reproduction’ as it was received into art practices, including painting, sculpture and drawing, from the 1920s to the present day.
I have an ongoing research interest in artists' film. My edited book, Screen/Space: The Projected Image in Contemporary Art (University of Manchester Press, 2011), studies the projected image as a distinctive form in art since the 1960s, distinguishing it from experimental film or video.
Articles I have published in journals including Art History, the Oxford Art Journal and Woman's Art Journal as well as catalogue essays and artist interviews for exhibitions at the Whitechapel Gallery, London and Talbot Rice Gallery, Edinburgh, pursue the theme of media, art and technology in relation to contemporary artists including Helen Chadwick, Tacita Dean, Jane and Louise Wilson, Roman Signer and Thomas Demand.