Neil Mulholland, Senior Lecturer in History and Theory of Fine Art
The Surrey Institute of Art & Design, University College

Research Questions

What are you doing?

Writing about art and popular culture since 1976 and producing work for exhibitions.

How do you define it as research?

My writing redresses the historical and critical orthodoxies surrounding current cultural practices. My art works often work against the academic grain of my critical revisions. Both activities are 'research' in so far as they are attempts to figure out what it means to consume and produce culture. Having said this, I abhor defining art production as 'research' other than in an administrative sense, since it is a synonym for TAFKACP (The Art Formally Known as Critical Postmodernism), dreary university 'cultural production' produced in the 70s and 80s by worthy bureaucrats. It's now clear that the hierarchies of writers and artists need not be identical. Coherence is death. The enthymeme has an effectiveness which the syllogism lacks, since it precludes mention of premises that can be assumed and takes its point of departure in notions already wasted. You can hardly see it or feel it but you know it’s there.

How did you get started?

I did a PhD entitled Why is there only one Monopolies Commission?: British Art Since 1975 at Glasgow University between 1995 and 1998, when I began publishing my writing. I also started to make art during this period for fanzines and then for artist-run spaces.

Who are you working with?

Dr. Ysanne Holt, University of Northumbria (Visual Culture in Britain, Academic Journal), British Mythic (Fanzine, Glasgow), Critical Text (Website, Anthony Davies & Simon Ford, Critics, London), VARIANT (Culture Journal, Glasgow), Lapland (Art & Design Collective, Glasgow), Gallery Charisma (Lucy McKenzie & Keith Farquar, Glasgow), Johnny Spencer for British Art Show 5 (Artist, London) Deutsche Britische Freundschaft (Art Collective, London-Berlin), Adrian R. Shaw (Artist/Singer-Songwriter, London-Barnsley), CIW (Band, London-Brno).

Are there any outcomes already in the public domain, e.g. published papers, catalogues, exhibitions, reviews etc?

There are a number of publications in academic journals, art magazines, conference proceedings, catalogues and on the net. My art works have appeared in fanzines and exhibitions in Glasgow, London, Mexico City and Berlin. I also have a CIW single in the record shops at the moment (Sudentenland/Day Release).

Who knows about your work?

Mainly academics who have read some of my publications or who I have contacted, but also a few artists in the UK. I'm not looking for anything other than a diminutive, specialist audience for my art work since it is a truncated archipelago with difficult to defend blossoming enclaves.

How did they find out?

By reading my writing, or seeing the work I have produced. If this fails, I turn up at their door unsolicited. I crush enemies, consolidate a power base and eliminate dissent with a huge chasm of sounds which hit like a velvet tidal wave infinitely more powerful than all the evil of metal on metal, jinn and black magic put together.

What support are you offered by your institution?

I am allocated research days. I can get funding to speak at/attend conferences or to visit exhibitions. Although I don't need money to make art, (just time), there is financial support available for exhibition sponsorship if needed.

What is the relationship between research and teaching at your institution?

I would say, on the whole, that it is teaching-led at the moment. This is mainly a good thing, although it is impossible to teach without doing research (what would you talk about?) On the other hand it is pointless to do research if you do not put it into practice by teaching or 'doing'.

What support do you give others?

Much of my research is now to do with cults and personal obsessions and therefore has a very limited audience, hence I'm unclear about how I might help others with their research. The idea that support or collaboration is inherently a 'good thing' is no more than an assumption. I'm not interested in collaboration in the traditional sense, I prefer to work against others in the hope that, in a final confrontation, good will conquer evil and little children will be reunited.