Faculty of Arts, Humanities and Cultures

School of Fine Art, History of Art and Cultural Studies

School of Fine Art on Facebook @FAHACS on twitterSchool of Fine Art on Instagram

Chris Taylor

Deputy Head of School | Senior Lecturer in Fine Art

0113 343 5198

University Road, Room 2.05

Office hours: By appointment

PhD University of Leeds | MA Leeds Metropolitan University | BA Leeds Polytechnic

Chris Taylor is a practising artist, curator and publisher with specialist knowledge in the field of contemporary printmaking, artists’ books and curation. He is particularly interested in the role of artists’ books as primary medium within contemporary art practice and the relevance of the page and the book format as a vehicle for visual communication and audience development.


Chris Taylor is a practising artist, curator and publisher with specialist knowledge in the field of contemporary printmaking, artists’ books and curation. He is particularly interested in the role of artists’ books as primary medium within contemporary art practice and the relevance of the page and the book format as a vehicle for visual communication and audience development.

Together with Simon Lewandowski, he is Co-Editor of the Wild Pansy Press, a collective art practice and small publishing house, based in the school which has built up a considerable catalogue of books and projects, often linking a publication to an exhibition in ways which extend and confound the usual notions of a catalogue. WPP actively develops partnerships with other groups to build a network of practitioners who explore and advance publication in its widest sense as both a distributional strategy and medium of practice, an approach recently pursued through the Wild Pansy Press Project Space and the Portable Reading Room, a nomadic atelier.

He is co-ordinator of PAGES along with artist John McDowall, an ongoing initiative which provides the structure and impetus for wide ranging activities which promote the development of the medium of the artist’s book and their dissemination and reception to a growing and diverse audience. This includes an annual curated projects series and the International Contemporary Artists’ Book Fair held in partnership with The Tetley centre for contemporary art and learning.

Since 1999, Taylor has worked in collaboration and exhibited nationally and internationally with artist Craig Wood developing a series of concepts that address issues such as authorship, creativity, interactivity and dissemination through the unlikely medium of repeat pattern wallpapers. Artists’ books, wallpapers and prints by Taylor are included in many collections including the Museum of Modern Art and the Cooper Hewitt, New York, National Gallery of Canada, Ottawa, Chicago Institute of Art, Art Gallery of Ontario, Toronto, The Tate Gallery and the V&A Museum, London, the Pompidou Centre, Paris and the Whitworth Art Gallery, Manchester.

Research Interests

• Contemporary artists’ books

• Contemporary printmaking

• Multiples

• Curatorial practice

• Audience development


Contemporary fine art practice, artist publishing, printed matter, audience and modes of distribution.

Studio Tutor: MA Fine Art, BA (Hons) Fine Art, BA (Hons) Fine Art with History of Art, BA (Hons) Fine Art with Contemporary Critical Theory, BA (Hons) Fine Art with Museum Studies.


Deputy Head of School



  • Taylor CA, Belinfante S, Fitton J, Lawrence-Francis R, McDowall J, Babayan K, Bond B, Garcia D, Sproat A, PAGES: Future Potentials / Future Legacies, ed. by Taylor CA and McDowall J, First (Leeds: Wild Pansy Press, 2017), 1-78

    Author URL [www.fine-art.leeds.ac.uk]

  • Taylor CA, Harker K, McDowall J, Barnes C, Chesterman J, PAGES: Picture Book, ed. by Taylor CA, First (Leeds: Wild Pansy Press, 2016), 1-38

    Author URL [www.fine-art.leeds.ac.uk]

  • Taylor CA, Atkinson L, Cutler A, Intuitive Projects, Kivland S, Loss S, McDowall J, Robin K, Sawyer Z, PAGES: Collections and collaborations, ed. by Taylor CA and McDowall J, First (Leeds: Wild Pansy Press, 2015), 1-73

    Author URL [www.fine-art.leeds.ac.uk]

  • Taylor CA, Atkinson L, Ferguson C, Harker K, McDowall J, Bird N, Loss S, Sawyer Z, PAGES: Archives and Office, Stationery and Document, ed. by Taylor CA and McDowall J, First (Leeds: Wild Pansy Press, 2014), 1-59

    Author URL [www.fine-art.leeds.ac.uk]

  • Babayan KY, Blood Oranges Dipped in Salt, ed. by Taylor CA, First (Leeds: Wild Pansy Press, 2012), 1-135

  • Taylor CA, Wood C, Assegno in Bianco / Blank Cheque, ed. by Kelly D, First (Venice: SG Press, 2011), 1-24

    Author URL [www.leeds.ac.uk]

  • Taylor CA, Crunchtime: Art and Global Issues (York: New School House Gallery, York, 2010)

  • Taylor CA, Lewandowski S, The Wild Pansy Press Book of Rainy Day Activities, ed. by Taylor, CA and Lewandowski, S (Leeds: Wild Pansy Press, 2010), 1-64

  • The Wild Pansy Press Book of Rainy Day Activities, ed. by lewandowski S and taylor C (Leeds/York: Wild Pansy Press, 2010)

    Author URL [www.lewandowski.lowtech.org]

  • Saunders G, Heyse-Moore D, Keeble T, Gallery WA, Walls Are Talking: Art, Culture, Wallpaper, ed. by Saunders G, First ([n.pub.], 2010)

  • Taylor CA, McDowall J, From Book to Book (Wild Pansy Press, 2008), 1-96

  • Taylor CA, McDowall J, Sheppard C, Smith G, Kivland S, Sérandour Y, Special Collections, ed. by Taylor CA and McDowall J (Leeds: Wild Pansy Press, 2007), 1-62

  • Gallery I, From Audéoud to Zhao Bandi (Ikon Gallery, Birmingham: [n.pub.] 2005)

  • Taylor CA, Can We Come Back? (Ikon Gallery and Creative Partnerships, Birmingham: [n.pub.] 2005)

  • Taylor CA, McDowall J, IMAGE/Text (Wild Pansy Press, 2004)

  • Taylor CA, McDowall J, TEXT/Image (Wild Pansy Press, 2004)

  • Taylor CA, Les Editeurs, La Foire (Saint Yrieix-la-Perche: Centre de Livres D'Artiste, 2004)

  • Taylor CA, Artsparkle (Multiplus, Leeds: [n.pub.] 2003)

  • Taylor CA, 5th Contemporary Artists Book Fair (Story Board Press, Bradford, 2002)

  • Taylor CA, 4th Contemporary Artists Book Fair (Wild Pansy Press, Leeds, 2001)

  • Vis-à-Vis A, Livres d'artiste : la page, en face (Vis-a-vis, Marseilles: [n.pub.] 2001)

  • Taylor CA, Inside Cover (Bristol: Making Space, 2000)

  • Taylor CA, McDowall J, 3rd Contemporary Artists' Book fair, ed. by Taylor CA and McDowall J (Leeds: Wild Pansy Press, 2000)

    Author URL [www.leeds.ac.uk]

  • Taylor CA, Wood C, Down on Paper: wallpaper to complete (Wild Pansy Press, 2000)

  • Taylor CA, 2nd International Contemporary Artists Book Fairs, ed. by Taylor CA and McDowall J (Leeds: Wild Pansy Press, 1999)

  • Taylor CA, Babayan KY, PRUNUS (Wild Pansy Press, 1997)

  • Taylor CA, Apricot and Zam Zam (Leeds: Impress, 1996), 1-40

  • Taylor CA, Change the Context: Change the Text (Leeds: Impress, 1996)

  • Taylor CA, Inkubator 2 (2009: The Bunker, Semper Fidelis, Edinburgh, [n.d.])

  • Taylor CA, McDowall J, International Contemporary Artists' Book Fair (1998: Wild Pansy Press, [n.d.])

Journal articles

  • Taylor CA, ‘Hokusai: First Manga Master’, The Art Book, Association of Art Historians, 15.1 (2008), 79-79

  • Taylor CA, ‘The Rape of Creativity (Jake and Dinos Chapman)’, The Art Book, ed. by Ward S, 11.3 (2004), pp.21

  • Taylor CA, ‘Leave Any Information at The Signal (Ed Ruscha)’, The Art Book, ed. by Ward S, 10.3 (2003), pp.62

  • Taylor CA, ‘Artists' Books in the Modern Era 1870-2000’, The Art Book, ed. by Ward S, 9.4 (2002), pp.24

  • Taylor CA, ‘Artists Year Book 2001-2002’, The Art Book, ed. by Ward S, 9.2 (2002), 60-61


  • Taylor CA, ‘Oleg Kudryashov: Heavy Metal’, in Creativity Never Rests - The Ronnie Duncan Collection, ed. by Read B, Stanley and Audrey Burton Gallery (Leeds: The Stanley & Audrey Burton Gallery, University of Leeds, 2008), 44-54

    Author URL [www.leeds.ac.uk]

  • Taylor CA, ‘ARCHIVE: a race against the instant?’, in Artist's Book Year Book 2003-2005, ed. by Bodman S (IMPACT Press, University of West of England, 2004), 90-93


  • Taylor CA, Flock and Roll, ([n.pub.], [n.d.])

  • Taylor CA, Off the Wall, ([n.pub.], [n.d.])

  • Taylor CA, Inside Cover, ([n.pub.], [n.d.])

  • Taylor CA, CAB7, ([n.pub.], [n.d.])

  • Taylor CA, Inside Cover, ([n.pub.], [n.d.])

  • Taylor CA, Down on Paper, ([n.pub.], [n.d.])

  • Taylor CA, CAB8, ([n.pub.], [n.d.])

  • Taylor CA, CAB9, ([n.pub.], [n.d.])

  • Taylor CA, Inaugural Exhibition, ([n.pub.], [n.d.])

  • Taylor CA, CAB14, ([n.pub.], [n.d.]) (In preparation)

  • Taylor CA, Wood C, Walls are Talking: Art, Culture, Wallpaper, ([n.pub.], [n.d.])

    Author URL [www.leeds.ac.uk]

  • Taylor CA, CAB11, ([n.pub.], [n.d.])

  • Taylor CA, CAB10, ([n.pub.], [n.d.])

  • Taylor CA, INKUBATOR, ([n.pub.], [n.d.])

  • Taylor CA, Blank Cheque, ([n.pub.], [n.d.])

  • Taylor CA, CAB13, ([n.pub.], [n.d.])

  • Taylor CA, Down on Paper, ([n.pub.], [n.d.])

  • Taylor CA, CAB12, ([n.pub.], [n.d.])

  • Taylor CA, Starting Point, ([n.pub.], [n.d.])

  • Taylor CA, Multi-box, ([n.pub.], [n.d.])

  • Taylor CA, Artists' Books: Structures and Narratives, ([n.pub.], [n.d.])

  • Taylor CA, INKUBATOR II, ([n.pub.], [n.d.])

  • Taylor CA, ARCHIVE, ([n.pub.], [n.d.])

  • Taylor CA, Glasgow International Artists' Book Fair, ([n.pub.], [n.d.])

  • Taylor CA, Eighties, Nineties, Noughties: Contemporary Works from the Art Gallery Collection, ([n.pub.], [n.d.])

  • Taylor CA, Beyond Content, ([n.pub.], [n.d.])

  • Taylor CA, Lewandowski S, The Wild Pansy Press, ([n.pub.], [n.d.]) (Accepted)

    Author URL [www.leeds.ac.uk]

  • Taylor CA, Wood C, Wall Stories, ([n.pub.], [n.d.])

    Author URL [www.leeds.ac.uk]

  • Taylor CA, By Leaves We Live: Artists' Books and Small Presses, ([n.pub.], [n.d.])

  • Taylor CA, Body Beautiful, ([n.pub.], [n.d.])

  • Taylor CA, Wood C, Assegno in Bianco/Blank Cheque, ([n.pub.], [n.d.])

    Author URL [www.leeds.ac.uk]

  • Taylor CA, Crunchtime, ([n.pub.], [n.d.])

  • Taylor CA, McDowall J, ARCHIVE, ([n.pub.], [n.d.])

    Author URL [www.leeds.ac.uk]

  • Taylor CA, Inside Cover, ([n.pub.], [n.d.])

  • Taylor CA, Musterhaus, ([n.pub.], [n.d.]) (Submitted)

    Author URL [www.kunstverein-tiergarten.de]

  • Taylor CA, PROJECT 101, ([n.pub.], [n.d.])

    Author URL [www.leeds.ac.uk]

  • Taylor CA, McDowall J, Lawrence-Francis R, Future Legacies: Collections, Collecting and Artists' Books, ([n.pub.], [n.d.])

    Author URL [www.fine-art.leeds.ac.uk]

  • Taylor CA, From Book to Book, ([n.pub.], [n.d.])

  • Taylor CA, A Perverse Library, ([n.pub.], [n.d.])

  • Taylor CA, Please do not place drinks on vitrines or books, ([n.pub.], [n.d.]) (In preparation)

  • Taylor CA, McDowall J, PAGES, ([n.pub.], [n.d.])

    Author URL [www.leeds.ac.uk]

  • Taylor CA, Babayan K, paperscissorsbook, ([n.pub.], [n.d.])

    Author URL [www.highlightsnorth.co.uk]

  • Taylor CA, McDowall J, Future Present, ([n.pub.], [n.d.])

    Author URL [www.fine-art.leeds.ac.uk]

  • Taylor CA, The Consistency of Shadows: Exhibition Catalogs as Autonomous Works of Art, ([n.pub.], [n.d.])

  • Taylor CA, The Book That Never Was, Making Histories: Revolution and Representations, ([n.pub.], [n.d.])

    Author URL [www.uwe.ac.uk]

  • Taylor CA, Wood C, The Other Flower Show, ([n.pub.], [n.d.])

    Author URL [www.vam.ac.uk]

  • Taylor CA, Book Fair BALTIC, ([n.pub.], [n.d.])

  • Taylor CA, Multiplus, ([n.pub.], [n.d.])

  • Taylor CA, Hibrida II, ([n.pub.], [n.d.])

    Author URL [www.hibrida.org]

  • Taylor CA, Artsparkle, ([n.pub.], [n.d.])

    Author URL [www.artsparkle.org.uk]

  • Taylor CA, Hibrida I, ([n.pub.], [n.d.])

    Author URL [www.hibrida.org]

  • Taylor CA, If Pressed, ([n.pub.], [n.d.])

  • Taylor CA, Inside Cover, ([n.pub.], [n.d.]) (Submitted)

  • Taylor CA, Edition de Creation-Reconteres Internationales, ([n.pub.], [n.d.])

  • Taylor CA, Straight Up / Down on Paper, ([n.pub.], [n.d.])

    Author URL [www.ikon-gallery.co.uk]

  • Taylor CA, Base Camp, ([n.pub.], [n.d.])

    Author URL [www.leeds.gov.uk]

  • Taylor CA, Les Editeurs, La Foire, ([n.pub.], [n.d.]) (Submitted)

  • Taylor CA, International Stop-Over, ([n.pub.], [n.d.])

  • Taylor CA, 7th Wexford Artists' Book Exhibition, ([n.pub.], [n.d.])


Research Centres & Groups

Co-Director, AWP (Research Centre for Artists’ Writings and Publications)
Executive Committee, CentreChoP (Centre for the Comparative Histories of Print

External Appointments

External Examiner
Award & Progression Examiner, School of Arts & Media, Teeside University 2016 -2019
Prague College, Czech Republic, BA(Hons) Fine Art Experimental Media 2015 -2019
Teeside University, BA(Hons) Fine Art 2015 -2019
Lancaster University, BA(Hons) Fine Art / BA(Hons) Creative Arts 2008-12
Lancaster University (Blackburn College), BA(Hons) Fine Art (Integrated Media) 2011-12
University of the Arts London, MA in Visual Arts (Printmaking) 2009-11
University of the Arts London, MA in Visual Arts (Book Arts) 2007-11
Bradford University, MA in Printmaking (Bradford College), 2003-06

External Programme Re-approval Committee
University of Central Lancashire, BA (Hons) Art and Design; BA (Hons) Fine Art; MA Fine Art: Studio Practice;
MA Fine Art: Site and Archive Intervention 2016
University of East Anglia & University of Essex, BA(Hons) Fine Art (University Campus Suffolk) 2014

University of Leeds Moderator
Leeds College of Art & Design, BA(Hons) Fine Art (part-time) 2000-2010
University York St John, BA(Hons) Fine Art and BA(Hons) Contemporary Fine Art 2003¬-2009
Leeds College of Art & Design, BA(Hons) Art & Design Interdisciplinary 2002-2009

Conferences, Symposia, Panels & Presentations

Holding / Held by the Book
Part of the ‘Cultures of the Book’ series
Symposium panel chair, The Treasures of the Brotherton Gallery 1 July 2016

Presentation of artists’ books from the collection
The Treasures of the Brotherton Gallery, University of Leeds 9 March 2016

Picture Book
Curators’ Tour
The Tetley, Leeds 3 March 2016

PAGES: Picture Book
Panel member – ‘Images, Thoughts and Words’
TransCultural Exchange’s 2016 International Conference on Opportunities in the Art: Expanding Worlds,
University of Boston, USA 25–27 February 2016

Collecting the Future
Presentation – Centre for the Comparative Histories of Print,
Special Collections, University of Leeds 7 October 2015

Curating Language Acts
Research Centre for Artists’ Writings and Publications, University of Leeds
Symposium organiser, The Tetley, Leeds 25 September 2015

Collections and Collaborations
Curators’ Tour
The Tetley, Leeds 11 March 2015

Galleries + Learning + Research: The Portable Reading Room, Engage conference fringe
Leeds Art Gallery 11 November 2014

Public Lecture: Wallpower/Taylor & Wood, National Gallery of Canada, Ottawa, Canada 22 November 2013
Round Table event: Wild Pansy Press publications, National Gallery of Canada 21 November 2013

Assegno in Bianco/Blank Cheque
Themed panel: ‘Collaboration’, Impact8 conference, Dundee University 28–31 August 2013

Revisiting the Special Collection: to touch or not to touch?
Paper: ‘Curating the Book session’, AAH conference, Reading University 11–12 April 2013

Curating Merz: Kurt Schwitters in England
Research seminar, invited paticipant
Developing projects to complement the Tate Britain exhibition as part of MerzNorth (2013)
The Merz Barn Project, Cylinders Estate, Elterwater, Cumbria 19 July 2012

Foreign Exchange: FOREX
CICA: Changing Identities and Contexts in the Arts: Artistic Research as the new European Paradigm for the Arts: An EU Culture Grant Project
Moderator for papers presented by Kerry Harker (Project Space Leeds) and David McCallum (University of Gothenburg). Henry Moore Institute, Leeds 27–28 April 2012

The Space of the Page: Artists’ Books as a Collaborative Art Practice
Paper and exhibition presented at the The Art Libraries Society (ARLIS) annual conference, Weaving New Futures: collaboration and reinvention in the digital age
University of Leeds 11–13 July 2011

Artists’ Books: an art practice
Paper presented at MERZMAN, Mechanics Institute, Manchester 26 March 2011

Drawing on Walls
Paper presented at MERZTEXTE, an international cross-disciplinary seminar based around the work of Kurt Schwitters and the Merzbarn, Shippon Gallery, Cylinders Estate, Ambleside 11–13 June 2010

Special Collections?
Paper presented at The Go Between, an international cross-disciplinary conference focusing on the role of the artist in mediating between collections and audiences. ATRiuM, Cardiff School of Creative and Cultural Industries, University of Glamorgan, National Museum Cardiff, Amgueddfa Cymru, National Museums Wales
9–12 September 2009

Artist, curator, publisher
Talk given to gallery, library and archive staff at the National Gallery of Canada, Ottawa 27 April 2008
Designing Writing: Designing Curriculum
Paper presented at the Writing Pad conference on the relationship between the reading of text and the reading of the visual, York St. John University College, York 27 April 2006

SYMPOSIA 1: Archives – shelved?
Organiser and Chair, Henry Moore Intstitute, Leeds 3 May 2003

SYMPOSIA 2: Sound & Vision – interpreting the visual
Organiser and Chair, Henry Moore Intstitute, Leeds 7 June 2003

SYMPOSIA 3: IMAGETEXT – modes of interpolation
Organiser and Chair, Henry Moore Intstitute, Leeds 12 July 2003

The Education of the Contemporary Artist
Round table panel member at Leeds City Art Gallery 3 December 2003

The History Book That Never Was
Southern Graphics ‘Making Histories: Revolution and Representation’ conference, Massachusetts College of Art, Boston. Exhibiting participant 2–5 April 2003

Artspotting 2, LVAF (Leeds Visual Arts Forum)
Chair of three debates coordinated by LVAF and held at the West Yorkshire Playhouse, aimed at promoting the Visual Arts in Leeds. Funded by Yorkshire Arts and Leeds City Council 5 November–3 December 2001

IMPACT International Print Conference, U.W.E., Bristol
Panel member presenting a paper on the Wild Pansy Press, its history, collaborations and publications to date as part of the School of Fine At, History of Art & Cultural Studies 22–25 September 1999

Book to Basics, University of Leeds/The Dean Clough Galleries, Halifax
Organiser / Chair of a conference on the collecting, marketing and distribution of contemporary artists books
21 March 1996

First British Artist Bookmakers’ Conference, INTERACTION, London
Invited panel discussing the educational and curatorial value of artists’ books in the UK 8 September 1993

PhD & Postdoctoral Supervision

I am willing to supervise PhDs on the following topics:

Artists’ Books and publications
Collaborative practice
Contemporary printmaking
Image and text
Print culture

Current PGRs

Louise Akins: submission date 2020

Bethany Hughes: submission date 2020

Jo McGonigal: submission date 2018

John McDowall:  submission date 2017

Louise Atkinson: submission date 2016

Dr Nick Cass: ‘The Brontë Parsonage: contemporary art as interpretational device, issues, problems and questions’, submission date 2015

Dr Erini Boukla: ‘Drawing Boundaries: A Drawing practice led investigation of Mapping as a contemporary Visual Arts practice’, submission date 2013

Dr Catherine Southworth: ‘The co-emergence of intimate places through everyday performances’, submission date 2013

Dr Kevin Laycock: ‘Uncertain Harmonies: Translation and Interpretation of Musical Composition into Visual Formats’, submission date 2012

Dr Anna Powell: ‘Chance Encounters: The Relationship between Artwork, Curatorial Practice and Audience’, submission date 2012

Dr Leonor Da Silva: ‘The Formula for the Perfect Ice Cream’, submission date 2009

Dr Glyn Thompson: ‘Unwinding Duchamp: mots et paroles á touts les étages’, submission date 2008

Dr Simon Morris: ‘Bibliomania’, submission date 2006

Dr John Crossley: ‘Artifactuality and Actuality’, submission date 2005

PhD Thesis

Throughout my career as an artist and academic, collaboration in its many forms has played a significant part in the development of my research and scholarship, the generation of outputs and strategic modes of dissemination.

Working across the broad category of ‘printed matter’, the form and function of the book has underpinned significant lines of research and projects over the past twenty years, a period during which the genre of the Artist’s Book (in which the historic and recognised formats and strategies of the book such as space, time and narrative are exploited by artists in the production of self-originating artefacts) has become an established vehicle of visual communication within the art canon, and the act of publishing (self-publishing in particular) an important mode of distribution for contemporary art practice generally. Whilst my art practice is reflective of late 20th and 21st century discourses on collaborative practice, mass production and Relational Aesthetics through the book form, the work has never been developed directly or illustrative of these particular cultural definitions but rather, is the result of an empirical engagement with the medium which, by its very nature, aligns itself with such avenues of production and distribution. As an artist who trained in fine printmaking the history and impact of the printed mark and page, the possibilities and impact of the multiple image or object, and the relationships between image and text, are by definition bound up in my working methodologies and outputs.
My research interests sit within the following modes of production: art practice, art curation and art editorship. Within this working context, my roles as artist, curator and editor are as equal and interchangeable as their attributes are distinct.

My art practice includes, though is not limited to, traditional and digital printmaking, artists’ books, wallpapers and installation; curation is executed through originating exhibitions, authored texts, artists’ book fairs, events and installations, and editorship taking place through independent and collaborative artist book design and production, project catalogues and commissioned texts. These modes of production exist in parallel, continually informing one another through overlapping avenues of exploration and engagement generated by the primary concerns of audience, collaboration and dissemination.

This body of research is represented through 3 principal strands and their respective projects – The Wild Pansy Press, PAGES and Down on Paper: wallpaper to complete – which are linked by the following hypotheses:

I. The potential of the Book as primary medium within a creative art practice.

II. The centrality of the Artists’ Book Fair as a primary mode of dissemination.

The work itself and the supporting statement examine how the book and its formal structures sit at the core of the research and how the artists’ book fair has been developed as the dominant network for the display, knowledge exchange and distribution of the genre.


Wild Pansy Press


Taylor & Wood

© Copyright Leeds 2018