Abigail Harrison Moore
Head of School | Professor of Art History and Museum Studies
0113 343 5281
Room 111, School of Fine Art, History of Art and Cultural Studies.
Office hours: Contact Helen Gill for appointments (email@example.com)
MA, St Andrews, AGMSDip, Manchester, PhD, Soton
Professor Abigail Harrison Moore is the Head of the School of Fine Art, History of Art and Cultural Studies. She teaches on all aspects of museum, gallery and heritage studies and her research explores the significance of the Arts and Crafts Movement, furniture history and the art market. Her most recent publications include the book ‘Fraud, Fakery and False Business; Re-thinking the Shrager v. Dighton ‘Old Furniture Case”, (London and New York: Continuum, 2011). She works with schools across the UK and internationally, has worked with groups from year 3 to year 13, and has led the University’s Extended Project Qualification activity to support the development of research skills.
Abigail is the Head of the School of Fine Art, History of Art and Cultural Studies and a founding member of the Centre for Critical Studies in Museums, Galleries and Heritage. She is also Deputy Director of the Centre for Collaborative Heritage Research.
She has worked with a wide range of museums, galleries and heritage organisations and maintains active links with many partner organisations through alumni, teaching and research projects, student placements and dissertations. Abigail’s current research focuses on the decorative arts, specifically the Arts and Crafts Movement, and furniture history and the art market in the inter-war years. Her most recent monograph is Fraud, Fakery and False Business; Re-thinking the Shrager v. Dighton ‘Old Furniture Case’, (Continuum, 2011). She is a director of the Registrar’s Project, which brings together Leeds Museums and Galleries, the University and the Royal Armouries to train future registrars and has led the University’s project to develop resources for the Extended Project Qualification, which brings together schools and collections. She is actively engaged in working with young people in museums, galleries and schools to encourage them to think about studying art history and museum studies and to support them in their transition to university. Abigail works closely with ARTiculations, a project to encourage 16-18 year olds to undertake art historical research and communicate about their passion for art. She launched Discover ARTiculations at the University of Leeds, a version of this popular national and international competition, for years 10 and 11 in 2016. She is also a judge for SPOKE, a film making competition for young art historians. Abigail works closely with the Art Historians Association on their outreach programmes and has advised exam boards on the development of art and design and art history qualifications.
- Furniture History
- The Art Market in the inter-war years
- Heritage, Museums and Galleries
- Nineteenth Century Decorative Arts
- Webb, Morris and the Arts and Crafts Movement
- The use of museum collections in schools and the EPQ
- The use of museum collections in prisons
Abigail’s research students are completing/have completed theses on collecting Wedgwood in America; hidden art; museums in Qatar; museums and education in Taiwan; art and design education in the nineteenth century; the display of taxidermy collections; taking museum objects into prisons; decorative ceiling plasterwork; the ethics of curating; Bardini’s collections; audience development at the Hepworth; the use of contemporary art to interpret heritage collections and audiences for contemporary art at Harewood. the Imperial War Museum North and the Bronte Parsonage.
I am co-organising, with Dr Mark Westgarth, the annual conference of the Museums and Galleries History Group, on Museums and the Market, at Leeds Museum in September 2010.
Abigail has led modules on ‘Country House and Museum Collections’ at level 1; ‘The Museum’ at level 2 and ‘Interpreting Cultures’ on the masters programme. She also teaches on ‘A Story of Art?’ at level 1 and supervises a wide range of BA and MA dissertations. She co-developed the BA in Art Gallery and Museum Studies, the MA in Art Gallery and Museum Studies and the MA in Arts Management and Heritage Studies.
Head of School
(2011) Fraud, Fakery and False Business: Rethinking the Shrager v. Dighton "Old Furniture" Case. London and New York: Continuum.
(2006) Architecture and Design in Europe and America 1750-2000. Blackwell Publishers.
(2013) “Decorative Electricity: Standen and the Aesthetics of New Lighting Technologies in the Nineteenth Century Home.”, Nineteenth-Century Contexts: an interdisciplinary journal. 35.4: 363-383.
(2007) “Editorship: Parallax”, Parallax. 13.2
(2002) “Voyage: Dominique Vivant-Denon and the Transference of Images of Egypt”, Art History. 25.4: 531-549.
(2016) “True Ornament? The Art and Industry of Electric Lighting in the Home, 1889-1902”, In: Wade R; Williams G; Nichols K (eds.) Art versus Industry? New Perspectives on Visual and Industrial Cultures in Nineteenth-Century Britain. Manchester: Manchester University Press. 158-178
Repository URL: http://eprints.whiterose.ac.uk/95199/
(2015) “Art Space: Thinking-Making Interpretation”, In: Louise D (eds.) The Interpretation Matters Handbook. London: Black Dog Publishing. 64-68
(2007) “'Aristocratic Identity. Regency Furniture and the Egyptian Revival Style'”, In: Derevenski JS (eds.) Projecting Identities: The Power of Material Culture. Blackwell Publishers.
(2003) “'Voyage: Dominique-Vivant-Denon and the Transference of Images of Egypt'”, In: Arnold D; Bending S (eds.) Tracing Architecture: The Aesthetics of Antiquarianism. Blackwell Publishing Ltd. 111-129
(2004) Object, Value, Meaning: Constructing Identities of Meaning in the Country House Museum. Proceedings: Association of Art Historians Annual Conference, University of Nottingham, 2004 Association of Art Historians Annual Conference, University of Nottingham, 2004.
(2003) Articulating Value: Object, Museum, Market. Proceedings: Association of Art Historians Anual Conference, Birkbeck and University College London Association of Art Historians Anual Conference, Birkbeck and University College London.
(2003) Ruling Taste; Domestic Design and Social Position. Proceedings: College Art Association Annual Conference, New York City College Art Association Annual Conference, New York City.
(2000) Mythologising Furniture: Furniture History and Cultural studies; A Problematic Dialectic. Proceedings: Cultural studies and Interdisciplinarity, Difference, Otherness, Dialogue, Translation, Trinity and All Saints, Leeds Cultural studies and Interdisciplinarity, Difference, Otherness, Dialogue, Translation, Trinity and All Saints, Leeds.
(1999) Vivant Denon and the Transference of Images of Egypt. Proceedings: Association of Art Historians Annual Conference Association of Art Historians Annual Conference.
(2004) Architecture of Philosophy/Philosophy of Architecture.
(2004) Out of Africa: Aspects of Egypt in the West.
Research Projects & Grants
May 2015 AHRC Follow On Funding for Impact and Innovation Electrifying the Country House: Taking Stories of Innovation to New Audiences (£99,999.47) (CI, 50%)
May 2014 IGNITE funding for development of a national network on the impact of the EPQ on audiences for museum and gallery collections (2k)
March 2014 Small Grant for network meetings to develop an AHRC Follow On application on electricity in country houses (£500)
Sep2013 AHRC Experiencing the Digital World: The Cultural Value of Digital Engagement with Heritage (£29,990) (CI, 20%)
Sep 2011 HEIF V funding for development of international CPD programmes (5k)
Sep 2010 HEIF IV funding from project with Leeds Museums and Galleries (£12k)
Sep 2010 AHRC Collaborative Doctoral Award (with Leeds Museums and Galleries) (£50k)
Sep 2009 AHRC Research Leave (£33,490k) (PI, 100%)
Sep 2008 Faculty Research Leave (£26k) (100%)
Jan 2007 HEIF III funding for project with Royal Armouries Museum (3k)
Research Centres & Groups
Jan 2016-2019 Brighton University, Chief Examiner, BA Art History programmes
June 2013-2017 Bristol University, BA Art History
Jan 2009-2013 Roehampton University, London, BA Art History
Queen Mary College, University of London, International Foundation Year
Manchester University, MA Art Gallery and Museum Studies
Member of Expert Panels for redesign of A Levels in Art and Design (AQA), History of Art (AQA) and EPQ (AQA/OCR), plus member of EPQ Forum (OCR)
PhD & Postdoctoral Supervision
I am happy to supervise PhDs on the following topics:
Museum and gallery studies, including the historic development of collections, the architecture and design of museums, and interpretative practices; the heritage industry and the country house; architecture and design in the nineteenth century, particularly the Arts and Crafts movement; furniture history.
I have supervised/am supervising:
Kenyon Holder: ‘The Birmingham Collection of Wedgwood’.
Mariam A Mulla: ‘The History and Heritage of Museums in Qatar’.
Rachel Forster: ‘Questions of value: Taking museum collections into a high security prison’.
Nick Cass: ‘Contemporary Art and Heritage: Interventions at the Bronte Parsonage Museum’.
Bing Wang: ‘Hakka identity in museums in China’
Joanne Williams: ‘Contemporary art in heritage spaces: How can we know ‘engagement’?
Sarah Harvey Richardson: ‘Understanding and developing audiences at the Hepworth Wakefield’.
Ralph Harrington: ‘The decorative plasterwork at Fairfax House, York’.
Yi-Shan Lu: ‘A comprehensive analysis of the use of digital technology for museum collections in Taiwan and England’.
Ebony Andrews: ‘Transforming Nature: Changes in the Presentation and Display of Taxidermy in Contemporary British Museums’.
Sybil Fisher: ‘Curating as a feminist strategy: Three contemporary case studies’.
Anna Powell: ‘Chance Encounters: The Relationship between artwork, curatorial practice and audience’.
Anna-Lea Tunesi: ‘Museology; The art dealer Stefano Bardini Italy (1836-1922)’.
Rebecca Wade: ‘Pedagogic Objects: the formation, circulation and exhibition of teaching collections in British art education, 1837-1857’.
Arwa D. Khomayyis: ‘Historic textile collections and their interpretation’.