0113 343 5264
G.03b Old Mining Building
Office hours: Monday 10-11 *or email for an appointment at another time
BA, Open; MA, Middlesex; PGCertLTHE, Sheffield Hallam
I teach UG and PG. My research focuses on the production, distribution and criticism of extra-literary forms of writing in relation to the field of contemporary art and the disciplinary formation of Fine Art.
Up-to-date news about recent and current projects can be found here.
Nick Thurston is the author of two books, one chapbook, one pocketbook, and co-author of two more pocketbooks, the latest of which is being translated into French, German, Italian and Spanish. He has been an Associate and Visiting Lecturer at various art academies in the UK since 2007, and in September 2012 joined the School of Fine Art, History of Art and Cultural Studies at the University of Leeds.
His print and sculptural works are held in public and private collections around Europe including the Van Abbemuseum (Eindhoven), Leeds City Art Gallery and The Bibliothèque nationale de France (Paris). His bookworks are collected by the V&A (London), Tate (London) and MoMA (New York) amongst other institutions. He has exhibited in shows at Denver Museum of Contemporary Art, Les Halles (Porrentruy), Toulouse Museum of Contemporary Art, The Laurence Sterne Museum (Coxwold), Whitechapel Gallery (London) and Bury City Art Gallery amongst other venues.
Commissioned interviews and reviews with/by him for periodicals like Afterall (London), BOMB (New York) and The Iowa Review can be found in print and online. His poetic writings have been anthologised in collections including Against Expression (Northwestern UP) and The Unexpected Guest (Liverpool Biennial & A / B Publishing), and recent essays by him include book chapters, peer-reviewed articles and journalism.
In early 2015, the Electronic Poetry Center (University of Buffalo and University of Pennsylvania) made the most comprehensive sample archive of his poems, short writings, interviews and book extracts (2006-2014) yet compiled digitally available for free.
Since 2006 he has been co-editor of the independent artists’ book publishing imprint information as material (York), with whom he was Writer in Residence at the Whitechapel Gallery (London) 2011-12. In 2014 he was an Artist in Residence at the Irish Museum of Modern Art (Dublin).
- Histories and theories of late-modern and contemporary Anglo-American poetics, with a special interest in conceptualist writing.
- Histories and theories of late-modern and contemporary European and North American art and aesthetics, with a special interest in artists’ publications.
- New media theory and network technologies, with a special interest in collaborative writing and publishing platforms for post-print cultures.
- Histories and theories of Conceptual art, with a special interest in its pre-histories and its consequences for post-conceptual and Intermedia practice.
- Artists’ writings and interviews with artists, with a special interest in curating and editing artists’ writings.
- Collaborative practice, with a special interest in the histories and theories of writers’ collectives inside of and outside of the Western literary canon.
BA Fine Art with Contemporary Cultural Theory; BA Fine Art with History of Art; BA Fine Art with Museum and Gallery Studies – Programme Director, 2015-.
BA Fine Art – studio teaching and Module Leader for ‘Practice in Context ARTF3080’.
MA Fine Art – studio teaching and Module Leader for ‘Fine Art Dissertation ARTF5017’.
PhD by practice – supervision.
Research Centres & Groups
Centre for Artists’ Writings & Publications
Board: blip blip blip Projects, Leeds, 2016-.
Member of the Association of Art Historians, UK, 2015-.
Member of the International Association of Art Critics, UK branch, 2014-.
Mentor for S1 Gallery (Sheffield), 2014-.
Curatorial advisor for the “Memory Marathon”, Serpentine Gallery (London), 2012.
Fellow of the Higher Education Academy (London), 2012-.
Co-editor of Information as Material (York), 2006-.
*[due date] indicates when a confirmed, forthcoming output is due.
– (ed.) Somebody’s Got To Do It: Selected Writings by Pavel Büchler Since 1986 (London: Ridinghouse Books ).
– Romantic Tragedy (Dublin: Irish Museum of Modern Art, 2014).
– Of the Subcontract, foreword by McKenzie Wark and afterword by Darren Wershler (York: Information as Material; agented Toronto: Coach House Books, 2013).
– Do or DIY, with Craig Dworkin and Simon Morris (York: Information as Material, 2012). Translations: ES, Carlos Soto (Santiago: Das Kapital Books, 2013); DE, Annette Gilbert (Cologne: Salon Verlag, 2013); FR, Kate Briggs (tbc, ); IT, Riccardo Boglione (tbc, ).
– THE DIE IS CAST, with Caroline Bergvall (York: Information as Material, 2009).
– Historia Abscondita (An Index of Joy) (York: Information as Material, 2007); re-published by EPC Digital Library, ed. Charles Bernstein (2008).
– Reading the Remove of Literature, ed. with an introduction by Craig Dworkin (York: Information as Material, 2006).
Key chapters, journal articles, reviews and artists’ pages:
– (ed.) Amodern vol.1:6 special issue (Montreal: Concordia University & Thunder Bay: Lakehead University, ).
– “What Was Conceptual Writing?” and “Index”, in Writing After Conceptual Art, ed. Andrea Andersson (Toronto: University of Toronto Press, ).
– Catalogue notes, in Pavel Büchler: In Amongst the Ashes, ed. Tommy Simoens (Antwerp: Ludion Books, 2016).
– “Publishing As Praxis”, in Plastic Words, eds. John Douglas Millar, David Musgrave, Luke Skrebowski, Natasha Soobramanien and Luke Williams (London: Publication Studio, 2015); re-printed in Amodern vol. 1:7 (Montreal: Concordia University & Thunder Bay: Lakehead University, ).
– Nothing: A User’s Manual, e-resource, with Craig Dworkin and Simon Morris (Salt Lake City: Eclipse Archive, 2015).
– “All as Nothing in the Key of Black”, in E.R.O.S. Journal vol.1:5 (London: Eros Press, 2014).
– “Status_Anxieties”, in Convolutions: The Journal of Conceptual Criticism vol.1:3 (New York: independent, 2014).
– “The Mediatisation of Contemporary Writing”, in The White Review online (London, September 2014); extended and re-printed in Publishing as Artistic Practice, ed. Annette Gilbert (Berlin: Sternberg Press, 2016).
– “Publishing as a Praxis of Conceptualist Reading Performances”, in Journal of Writing in Creative Practice vol.6:3, ed. Jerome Fletcher (London: Intellect, 2014).
– “Robert Fitterman’s No, Wait. Yep. Definitely Still Hate Myself by Nick Thurston”, in BOMB Magazine 127 (New York, spring 2014).
– “Pool” (2011), in Garden Marathon, ed. Will Holder (London: Serpentine Gallery and Cologne: Koenig Books, 2013).
– “Pretty Brutal Speech: Kim Rosenfield’s Lividity and Steven Zultanski’s Agony”, in BOMB online (New York, April 2013).
– “Seeing Ian Hamilton Finlay’s Poetics: Alec Finlay’s Selections and Thomas Clarke’s A Model of Order”, BOMB online (New York, April 2013).
– “dOCUMENTA 13: Writing’s Retreat into the Context of Contemporary Art”, in Afterall Online (London, October 2012).
– “Index”, in The Happy Hypocrite Journal, vol.1:1, vol.1:2, vol.1:4 (London: Bookworks, 2008, 2008, 2009).
– Selected works in “Less is More: The Poetics of Erasure”, special edition of The Capilano Review vol.3:7 (Vancouver: Capilano University Press, 2008).
– “Erratum”, in Parallax: Journal of Cultural Theory vol.14:2 (London: Routledge, 2008).
– “Word for Word”, with Pavel Büchler, in Performance Research vol.9:2 (London: Routledge, 2004).
– Selections from Of The Subcontract in Here*Now: Anthology, ed. Steve Tomasula (Tuscalosa: University of Alabama Press, [tbc]).
– Selections from Reading the Remove of Literature in Literature and the Image in Maurice Blanchot, ed. Marco Gutjahr (Würzburg: Könisghausen & Neumann, ).
– Electronic Poetry Center Author Archive, eds. Charles Bernstein & Loss Pequeño Glazier: http://epc.buffalo.edu, 2015.
– Selected works in The New Concrete, eds. Victoria Bean and Chris McCabe (London: Hayward Publishing, ).
– Selected works in Reprint: Appropriation (&) Literature, ed. Annette Gilbert (Weisbaden: Lux Books, 2014).
– Selected works in The Dark Would: Anthology of Language Art, ed. Philip Davenport (Manchester: Apple Pie Editions, 2012).
– Excerpt from A Dress (2011), in The Unexpected Guest: Liverpool Biennale 2012 Catalogue, eds. Paul Domela and Sally Tallant (London: A/B, 2012).
– He Wore (2009) in Against Expression: An Anthology of Conceptual Writing, eds. Craig Dworkin and Kenneth Goldsmith (Chicago: Northwestern University Press, 2011).
Key exhibitions and editions:
– The Economy is Spinning, group show, cur. Kris Dittel, Onomatopee (Eindhoven), June-July 2016.
– Magritte for Cheerleaders, unlimited print edition, Information as Material, September 2015.
– Do or DIY (Expanded Second Edition), solo show (as Information as Material), curs. Ariana Ciula and Naomi Segal, Peltz gallery (London), April 2015.
– Les artistes face aux livres, group show, cur. Barbara Denis-Morel, The Scriptorium of Avranches at the Museum of Manuscripts (Mont Saint Michel), February – May 2015.
– Plastic Words, performance and public lecture, curs. John Douglas Millar, David Musgrave, Luke Skrebowski, Natasha Soobramanien and Luke Williams, Raven Row (London), December 2014 – February 2015.
– Nothing: A User’s Manual, free-to-download PDF booklet, compiled by Information As Material, published by Eclipse Archive (Utah), 2015.
– Unseen Presence, group show, cur. Janice Hough, Irish Museum of Modern Art (Dublin), July-August 2014.
– The Fourth Class, group show, cur. Jerome Dupeyrat, Florence Loewy Gallery (Paris), November-December 2013.
– Learn to Read Differently, solo show (as Information as Material), cur. Circa Projects, Northern Gallery of Contemporary Art (Sunderland), August-September 2013.
– Pretty Brutal Library, solo show, cur. Derek Horton, & Model Gallery (Leeds, +touring), July-August 2013.
– Notes for a Pretty Brutal Library, limited edition, cur. Andrew Wilson, Hannah Festival (Hannah Mitchell Foundation), June 2013.
– The Visitations at ****, limited edition, cur. Johanna Melvin, Whitechapel Gallery (London).
– Adapt-Erase, group show, cur. Derek Horton, & Model Gallery (Leeds), January-March 2013.
– Marrakech Press, group show, curs. Mathieu Copeland and Philippe Decrauzat, Les Halles (Porrentruy), December 2012-January ’13.
– A Kind of “Huh?”, group show (as Information as Material) curs. Jérôme Dupeyrat and Maïwenn Walter, Toulouse Museum of Contemporary Art (+touring), November 2012+.
– Postscript, group show, curs. Andrea Andersson and Nora Abraham, Denver Museum of Contemporary Art, October 2012-January ’13; Power Plant Gallery of Contemporary Art (Toronto), June-September 2013; Eli and Edythe Broad Museum (Michigan), March-September 2014.
– Do or DIY, solo show (as Information as Material), cur. Patrick Wildgust, Laurence Sterne Museum (Coxwold), August-September 2012.
– In Conversation, group show, curs. Carrie Duff and Philippa O’Driscoll and Helen Spence, Government Art Collection (London), April-May 2011.
– Do or DIY, solo show (as Information as Material), cur. Nicola Sim, Whitechapel Gallery (London), March-April 2012.
– Convergence, group show, cur. Christa-Maria Lerm Hayes, Golden Thread Gallery (Belfast) and Limerick City Art Gallery, both 2011.
– We Are Grammar, group show, curs. Dave Beech (London) and Paul O’Neill (Bristol), Pratt Manhatten Gallery (New York), February-May 2011.
– Off The Record, commission, curs. Nicole Yipp et al, Royal College of Art MA Contemporary Curating and Resonance FM (London), March 2011.
– Il, limited edition, cur. Didier Mathieu, Le Centre des Livres d’Artistes (Saint-Yrieix-la-Perche), 2010.
– The Perverse Library, group show, cur. Simon Morris, the Laurence Sterne Museum (Coxwold), September-October 2010.
– HaVE A LoOk! HAve a Look!, group show, curs. Francesco Pedraglio and Caterina Riva and Pieternel Vermoortel, FormContent (London), May-July 2010.
– New Wave: Artists’ Publishing in the 21st-century, group show, curs. Sarah Bodman and Tom Sowden, University of West England (Bristol), September 2009.
– The Enigma Variations, commission for Signs of the Times, cur. Tony Trehy, part of ‘Text Festival 2’, Bury City Museum and Art Gallery, May-July 2009.
– He, limited edition, Information as Material (York), 2009.
– Inkubator 2, group show, cur. David Fiathful, Durham Art Gallery, September-October 2009; following Inkubator 1, Edinburgh Printmakers’ Gallery, March-May 2007.
– THE IDEOLOGY OF DAVID CAMERON’S CONSERVATIVE PARTY, postcard poem edition, Information as Material (York), 2009.
– The Poetics of Erasure, group show, curs. Bill Jeffries and Ariana Kelly, Simon Fraser University Gallery (Vancouver), November-December 2008.
– Visions 1: information as material, group show, cur. Johan Deumens, Johan Deumens Gallery (Haarlem), April-May 2008.
– Spinning, chapbook and performance with Simon Morris for Instal Festival 08: Kill Your Timid Notions, curs. Arika, The Arches (Glasgow), October 2008.
– A Perverse Library, commission with Simon Morris for ‘Writing Encounters’, curs. Claire MacDonald and Claire Hind, York St John University, September 2008.
Recent papers, invited talks, panels, readings, and interviews:
– Writing + Art, convened by Marin Sullivan, Keene State College (Keene), April 2016.
– Documentary Realisms, convened by David Bellingham, Glasgow School of Art, March 2016.
– R.I.T. Readings in Contemporary Poetry, convened by Sandy Baldwin, Rochester Institute of Technology, February 2016.
– Cultures of Resilience, convened by Ben Cain & Anne Eggebert, Central Saint Martins College of Art (London), January 2016.
– Tuesday Talk, convened by Bryony Bond (Whitworth) & Pavel Buchler (MMU), Whitworth Gallery (Manchester), November 2015.
– Opening Curtains I & II, convened by Project Radio, & Model (Leeds), October 2015.
– Talking About Thought Forms and Modern Art, convened by Gill Park and Griselda Pollock, University of Leeds, May 2015.
– Support de fortune, convened by Kristien Van den Brande, Recyclart (Brussels), April 2015.
– Publishing as an Artistic Practice, convened by Annette Gilbert and Kristen Muller, Lettrétage (Berlin), February 2015.
– MOTIF Conference, convened by Emma Conway et al, Royal Holloway University (London), November 2014.
– “Writers Read: Nick Thurston”, convened by Sina Queyras and Darren Wershler, Concordia University, November 2014.
– “Of the Subcontract: An Interview with Nick Thurston”, with Stephen Voyce, in The Iowa Review vol. 43:3 (2014).
– “Publishing as Praxis”, Playground: Books and Magazines as Sites for Art conference, convened by Sylwia Serafinowicz, Wroclaw Museum of Contemporary Art, May 2014.
– “ReWrite Talk: Nick Thurston”, Centre for Research in Creative and Professional Writing, convened by Peter Jaeger, Roehampton University (London), March 2014.
– “The Visitor Talks: Nick Thurston”, Hessel Museum of Art, convened by Paul O’Neill, Centre for Curatorial Studies, Bard College (Annandale-on-Hudson), February 2014.
– “Who is taking responsibility for that text?”, International Text and Image Association panel convened by Christa-Maria Lerm Hayes, College Arts Association Conference, Chicago, February 2014.
– “Nick Thurston: Speculative Libraries”, Tuesday Session lecture, series curated by Vanessa Boni, Liverpool Biennial, August 2013.
– “Postscript: Symposium”, convened by Andrea Andersson and Nora Abrams, Denver Museum of Contemporary Art, January 2013.
– “What If?”, reading and panel convened by Achim Borchardt-Hume for Banging Your Head Against a Brick Wall, Whitechapel Gallery (London), November 2012.
– “The Conditions for Making Art”, talk and symposium convened by Sean Kaye and Jenny West, Leeds College of Art & Design, November 2012.
– WTF?!, reading, curated by Lucie Kolb, Romy Rüegger and Stefan Wagner, Corner College Gallery (Zurich), October 2012.
– “Re-imaged Libraries”, talk and ‘in discussion’ with Charlotte Morgan, Site Gallery (Sheffield), September 2012.
– “Artists at Work: Nick Thurston”, interview with Louise O’Hare (London), Afterall Online, August 2012.
– “Reading. Some Positions”, paper with Sharon Kivland and panel, convened by Emmanuelle Waeckerle, Book! Live conference, Southbank University (London), June 2012.
– “Global Conceptualisms”, panel convened by Vanessa Place, &Now conference, Sorbonne University (Paris IV); reading, Gallery Éof (Paris), both June 2012.
– “Caricature”, curated by Nicola Lees, intervention for the exhibition Hans-Peter Feldman, Serpentine Gallery (London), May 2012.
– “Reading Beckett Out Loud Makes Your Jaw Ache”, paper and discussion convened by Peter Fifield, Samuel Beckett: Debts and Legacies seminar series, St John’s College & the Faculty of English, Oxford University, May 2012.
– “Publishing as Praxis”, paper and discussion, convened by Jerome Fletcher, Performance Writing 12, Arnolfini (Bristol), May 2012.
– “I Don’t Want to Make a Book”, talk and panel convened by Kit Hammonds, Publish and Be Damned, ICA (London), March 2012.
– Sucking on Words, reading and co-curated (as Information as Material), Whitechapel Gallery (London), February 2012.
– “Conceptualist Reading Performances”, paper and discussion, convened by Maria Fusco, Goldsmiths College (London), January 2012.
– Free Association, talk and workshop leader, convened by Royal College of Art MFA Contemporary Curating, Wysing Art Centre (Cambridge), December 2011.
– Artists’ talk, curated by Lucia Pietroiusti, for the exhibition Lygia Pape: Magnetised Space, Serpentine Gallery (London), December 2011.
– “IAM Contra the ‘Proper'”, paper and discussion, convened by Sharon Kivland, Wimbledon College of Art (London), December 2011.
– Artists’ talk, Whitworth Gallery (Manchester), December 2011.
– “Publishing as Praxis”, talk and discussion convened by Anke Schleper (Berlin), for the MISS READ Art Book Fair, KW Institute of Contemporary Art (Berlin), November 2011.
– “Convergence Symposium”, talk and panel convened by Christa-Maria Lerm Hayes, Limerick City Art Gallery, October 2011.
– “Cultural Piracy”, panel convener and moderator, Whitechapel Gallery (London), September 2011.