Professor Jason Edwards
Professor of History of Art

Profile

Biography

BA, MA, PhD (Cantab)

After completing a PhD in English at King's College, Cambridge, which explored ideas derived from Victorian evolutionary theory and molecular physics in W.B. Yeats's prose, Jason has been a research fellow at the Henry Moore Institute for the Study in Sculpture in Leeds and at the Yale Center for British Art, and a Henry Moore Foundation Post-Doctoral Research Fellow at the University of York. He has also been a visiting professor at the CUNY Graduate Center.

Jason works primarily on British sculpture in its global contexts, and on Victorian and Modernist art. He has a number of interdisciplinary areas of interest, including queer theory, critical animal studies and vegan theory, and world systems and complex systems theory. Recent interests have also included fiber art and Victorian photography.

Departmental roles

Jason is currently Head of Admissions, and sits on the University Research and Pump Priming Committees.

Research

Overview

  • British sculpture, 1760-1940: Global Contexts
  • Victorian and Modernist Art
  • Victorian photography
  • Queer theory, especially Eve Kosofsky Sedgwick
  • Critical animal studies and vegan theory
  • World systems and complex systems
  • The Victorian circum-polar world
  • Textiles and fibre art

Research group(s)

  • British Art
  • Sculpture Studies
  • Modern and Contemporary Cluster
  • Interdisciplinary Centre for Modern Studies
  • Centre for Complex Systems

Grants

  • Jason has held grants and received funding from the AHRC and Leverhulme Trust, the Historians of British Art, the Samuel H. Kress Foundation, the Elephant Trust, the Jim Matthew Fund, the Henry Moore Foundation, and the Paul Mellon Center for Studies in British Art.

Supervision

Jason has supervised PhDs upon:

Jason has supervised PhDs upon

  • Frederic Leighton and the Middle East
  • Bone and Whale: The Victorian Visual and Material Cultures of Whaling
  • British Art at the Imperial and Colonial
  • Nineteenth-Century Spanish Sculpture
  • The Chantrey Bequest
  • William Goscombe John’s networks
  • The problem of sculptural allegory, c.1750-1850
  • Victorian war painting
  • The sculpture of the natural history museums
  • The concept of sculpture at the Victorian V&A
  • Stained glass at the great exhibitions
  • Sculpture at the great exhibition
  • Victoria and Albert as patrons
  • Sculpture and the royal children
  • Sisterhood: Victorian women artists
  • The sculpture of Herbert Ward
  • Rodin and the Decorative
  • After the Arrest: The Life and Work of Simeon Solomon
  • The Arts and Crafts Object

Publications

Selected publications

  • 'Postcards from the Edge: Thomas Woolner's Captain Cook For Sydney', in Jason Edwards and Michael Hatt, eds, Displaying Victorian Sculpture special issue of The Sculpture Journal (Autumn 2014).
  • ‘Introduction’ and ‘Charles Henry Felix Rossi’s Monument to Cornwallis’ in Sarah Burnage and Jason Edwards, eds., The British School of Sculpture, c1768-1832 (2014).
  • 'Two Arts, Fat and Thin: Eve Kosofsky Sedgwick as Fibre Artist' in Michael O'Rourke, ed., Eve Kosofsky Sedgwick: Gender, Sexuality and the Body (Ashgate, 2014).
  • "A Queer Variety of Natural History"? Staging the Mid-Victorian in Edmund Gosse's Sculptural Criticism, c.1890-1907, in Martina Droth and Peter Trippi, eds, Change/Continuity: Writing about Art in Britain Before and After 1900 (Ashgate, 2014).
  • '"By Abstraction Springs Forth Ideal Beauty?": John Gibson's Modernity', in Sarah Monks, Mark Hallett and John Barrell, eds, Living with the Royal Academy: Artistic Ideals and Experiences in Britain, 1768-1848 (Ashgate, 2013), 195-220.
  • 'War and Peace: Harry Bates's Lord Roberts Memorial in Calcutta, London and Glasgow, 1898-1924', in Julie Codell, ed., Transculturation in British Art, 1770-1930 (Ashgate, 2012).
  • 'Queer and Now: On Etty's Autobiography (1849) and Male Nude with Upraised Arms (1830)', in Sarah Burnage and Mark Hallet, eds, William Etty (York: York City Art Gallery, 2011).
  • '"Tell Me Not Wherein I Seem Unnatural”: Queer Meditations upon Coriolanus in the Time of War', in Madhavi Menon, ed., Shakesqueer (Duke University Press, 2010).
  • 'From the East India Company to the West Indies, and Beyond: The Global Contexts of British Sculpture, c.1757-1947', Visual Culture in Britain (Spring 2010), 147-172.
  • 'Eve Kosofsky Sedgwick: In the Bardo (2 May 1950-12 April 2009)', Sexualities (2009), 675-677.
  • 'Rethinking the Victorian Interior: An Eclectic, Collabroative Introduction', in Jason Edwards and Imogen Hart (eds), Rethinking the Interior: Aestheticism and the Arts and Crafts Movement, 1867-1896 (Ashgate, 2009), 1-24. Co-authored with Imogen Hart.
  • 'The Lessons of Leighton House: Aesthetics, Politics, Erotics', in Jason Edwards and Imogen Hart (eds), Rethinking the Interior: Aestheticism and the Arts and Crafts Movement, 1867-1896 (Ashgate, 2009), 85-110.

Monographs

  • Eve Kosofsky Sedgwick (Routledge, 2008).
  • Alfred Gilbert's Aestheticism: Gilbert Amongst Whistler, Wilde, Leighton, Pater and Burne-Jones (Ashgate, 2006).

Edited Collections

  • The ‘British’ School of Sculpture, c.1762-1835. (Routledge, 2016). Co-edited = with Sarah Burnage.
  • Victorian Sculpture in its Global Contexts, special issue of Visual Culture in Britain (Spring 2010). Co-edited = with Michael Hatt.
  • Rethinking the Interior: Aestheticism and Arts and Crafts, 1867-1896 (Ashgate, 2009). Co-edited with Imogen Hart.
  • Joseph Cornell: Opening the Box (Peter Lang, 2007). Co-edited with Stephanie L. Taylor.
  • Anxious Flirtations: Homoeroticism, Art and Aestheticism in Victorian Britain, special issue of Visual Culture in Britain 8.1 (Spring 2007).

Full publications list

Monographs

Eve Kosofsky Sedgwick (Routledge, 2009).

Alfred Gilbert’s Aestheticism: Gilbert Amongst Whistler, Wilde, Leighton, Pater and Burne-Jones (Ashgate, 2006).

 

Edited Collections

The ‘British’ School of Sculpture, c.1762-1835. (Routledge, 2016). Co-edited = with Sarah Burnage.

Victorian Sculpture in its Global Contexts, special issue of Visual Culture in Britain (Spring 2010). Co-edited = with Michael Hatt.

Rethinking the Interior: Aestheticism and Arts and Crafts, 1867-1896 (Ashgate, 2009). Co-edited with Imogen Hart.

Joseph Cornell: Opening the Box (Peter Lang, 2007). Co-edited with Stephanie L. Taylor.

Anxious Flirtations: Homoeroticism, Art and Aestheticism in Victorian Britain, special issue of Visual Culture in Britain 8.1 (Spring 2007).

 

Exhibition Catalogues

Sculpture Victorious: Art in an Age of Invention, 1837-1901 (Yale University Press, 2014). Co-edited with Martina Droth and Michael Hatt. [Introduction, section introductory texts, catalogue entries, and biographies].

The ‘Open Secret’ of Alfred Gilbert’s Male Nudes, 1882-c.1895 (Henry Moore Institute, 2006).

The Cult of the Statuette in Victorian Britain. (Henry Moore Institute, 2000). Co-edited with Martina Droth, David J. Getsy, and Matthew Withey.

 

 

Articles and Chapters in Books and Journals

 ‘Introduction: Sculpture Victorious, or, The British School, c.1760-1834’ and ‘John Charles Felix Rossi’s Cornwallis Monument (1807-1811) and the Colonial Cosmopolitanism of the British School’, in Sarah Burnage and Jason Edwards, eds, The ‘British’ School of Sculpture, c.1760-1830 (Routledge, 2016).

‘The World of Victorian Portraiture: The Crystal Palace, Sydenham Portrait Gallery, c.1854’, in Kate Nichols and Sarah Victoria Turner, eds, What is to Become of the Crystal Palace (Manchester University Press, 2016).

‘Looking at the Overlooked: William Coombe Sanders’s Frame Resembling Carved Wood with Lobster and Crab Motif’, V&A Online Journal (Spring 2017).

 ‘Ex Omnia Conchis? Edward Onslow Ford and the Problem of Victorian ‘Animalier’ Sculpture’, in Stefano Maria Evangelista and Luisa Calle, eds, Sculpture and Literature at the Fin-De-Siecle special issue of Word and Image (Summer 2016).

‘The Relief of Lucknow: Henry Hugh Armstead’s Outram Shield’, 19: Interdisciplinary Studies in the Long Nineteenth Century (June 2016). http://www.19.bbk.ac.uk/articles/10.16995/ntn.734/

‘“Generations of Modernism, or, A Queer Variety of Natural History”: Edmund Gosse and Modern Sculpture’, in Martina Droth and Peter Trippi, eds, Change/Continuity: Writing About Art in Britain Before and After 1900 special issue of Nineteenth Century Art Worldwide (Summer 2015). http://www.19thc-artworldwide.org/index.php/summer15/edwards-on-edmund-gosse-and-sculptural-modernity

‘Introduction: T Times and Queer and Now’, and ed., Tendencies at Twenty (2013), http://evekosofskysedgwick.net/conferences/conferences.html

‘Edward Onslow Ford, Egyptian Singer and Applause, Object in Focus, http://www.tate.org.uk/about/our-work/tate-research and http://www.tate.org.uk/art/context-comment/blogs/focus-interview-jason-edwards

 ‘Introduction: Displaying Victorian Sculpture’, in Jason Edwards and Michael Hatt, eds, Displaying Victorian Sculpture special issue of The Sculpture Journal 23.2 (Summer 2014), 127-130. Co-authored with Michael Hatt.

Postcards from the Edge? Thomas Woolner’s 1879 Captain Cook for Sydney’, in Jason Edwards and Michael Hatt, eds, Displaying Victorian Sculpture special issue of the Sculpture Journal (2014), 209-220.

‘“By Abstraction Springs Forth Ideal Beauty?’: John Gibson’s Modernity’,in Sarah Monks, ed., Living with the Royal Academy: Artistic Ideals and Experiences in Britain, 1768-1848 (Ashgate, 2013), 195-220.

War and Peace: Harry Bates’s Lord Roberts Memorial in Calcutta, London and Glasgow, 1898- 1924’, in Julie Codell, ed., Transculturation in British Art, 1770-1930 (Ashgate, 2012), 199-219.

Queer and Now: On Etty’s Autobiography (1849)and Male Nude with Upraised Arms (1830)’, in Sarah Burnage and Mark Hallet, eds, William Etty (Exh. Cat;. York: York City Art Gallery, 2011). [The exhibition received c.109,000 visitors], 91-105.

From the East India Company to the West Indies, and Beyond: The Global Contexts of British Sculpture, c.1757-1947’, in Jason Edwards and Michael Hatt, eds, Victorian Sculpture in its Global Contexts, special issue of Visual Culture in Britain 11.2(Spring 2010), 147-172.

‘Eve Kosofsky Sedgwick: In the Bardo’, Sexualities 6.12 (December 2009), 675-677.

‘Rethinking the Victorian Interior: An Eclectic, Collaborative Introduction’, in Jason Edwards and Imogen Hart (eds), Rethinking the Interior: Aestheticism and the Arts and Crafts Movement, 1867-1896 (Ashgate, 2009). Co-authored = with Imogen Hart.

‘The Lessons of Leighton House: Aesthetics, Politics, Erotics’, in Jason Edwards and Imogen Hart (eds), Rethinking the Interior: Aestheticism and the Arts and Crafts Movement, 1867-1896 (Ashgate, 2009).

‘“Tell Me Not Wherein I Seem Unnatural”: Queer Meditations upon Coriolanus in the Time of War’, in Madhavi Menon, ed., Shakesqueer (Durham: Duke UP, 2011), 80-88.

‘“A Curious Feature”: Harry Bates’s Holy Trinity Altar Front’ (1890), The Sculpture Journal 17.1 (Spring 2008), 36-51

‘Anxious Flirtations: Homoeroticism, Art and Aestheticism in Late Victorian Britain’, Visual Culture in Britain 8.1 (Spring 2007), 1-14.

‘Coming Out As A Cornellian’, in Jason Edwards and Stephanie L. Taylors (eds), Joseph Cornell: Opening the Box (Peter Lang, 2007), 1-35.

‘A Portrait of the Artist as a Young Aesthete: Alfred Gilbert’s Perseus Arming (1882) and the Question of “Aesthetic” Sculpture in Late-Victorian Britain’, in David J. Getsy (ed.), Sculpture and the Search for the Modern (Ashgate, 2004), 11-39.

‘Alfred Gilbert’, in Penelope Curtis (ed.), Sculpture in Twentieth-Century Britain (Henry Moore Foundation, 2003), 133-35.

‘“An Entirely Unimportant Deviation”?: Aestheticism and the Critical Location of the Statuette in Fin-de-Siècle Britain', Sculpture Journal, 7 (Spring 2002), 58-70.

‘Edmund Gosse and the Victorian Nude’, History Today, 51.11 (November 2001), 29-38.

‘Alfred Gilbert's Aestheticism: Homoeroticism, Artistic Identity and the New Sculpture’, Visual Culture in Britain 2.1 (Spring 2001), 81-99.

‘The Generation of the Green Carnation: Sexual Degeneracy, the Representation of Male Homosexuality, and the Limits of Yeats’s Sympathy’, in Hugh Stevens and Caroline Howlett (eds), Modernist Sexualities (Manchester UP, 2000), 41-56.

Teaching

Undergraduate

  • Casts & Cultures: The Crystal Palace, Sydenham
  • The 'British School': Sculpture in Britain, c. 1760-1837
  • Sculpture in the Circum-Atlantic World
  • Victorian Sculpture
  • The Cultures of Sculpture, c.1815-1918
  • Victorian Art
  • Word and Image in the Nineteenth Century
  • Art in Paris
  • Twentieth-Century Sculpture

Postgraduate

  • Queering Theory: Eve Kosofsky Sedgwick
  • Two Arts, Fat and Thin: Eve Kosofsky Sedgwick's Works in Fibre and Paper
  • English Sculpture, 1848-1899
  • English Sculpture, 1900-1939
  • Frederic Leighton
  • Visuality in English and French Painting, 1848-1918
  • Nostalgia, Conservatism and Modernity: Anglo-French Art Between the Wars
  • The Art of War: The St Paul's Pantheon

External activities

Memberships

Visual Culture in Britain (member editorial board)

Editorial duties

Invited talks and conferences

Conference organisation
  • February 2016: The Animalities, Lightning Rods panel at the University of York. Co-organised with Erica Sheen.
  • October 2015: Between Men, and Women, at Thirty, one-day international symposium at the City University of New York. Co-organised with Hal A. Sedgwick and Joshua Wilner.
  • June 2015: Ceramic City, evening symposium at the York Evening and Decorative Fine Art Society/Univeristy of York.
  • April 2015: Sculpture Victorious, interdisciplinary half day scholars symposium at Tate Britain. Co-organised with Caroline Corbeau Parsons, Desiree du Chair, Martina Droth,Michael Hatt, and Greg Sullivan.
  • March 2015: Making Sculpture Victorious at Tate Britain. Co-organised with Martina Droth, Michael Hatt and Greg Sullivan.
  • February 2015: Sculpture Victorious interdisciplinary scholars morning at Tate Britain. Co-organised with Martina Droth, Michael Hatt, and Greg Sullivan.
  • January 2015: Living in a Period World: Systems, Networks, Webs and Structures Lightning Rods panel at the University of York. Co-organised with Judith Buchanan, Helen Smith, Jon Mee and Craig Taylor.
  • October 2014: What’s the Point of Periods? Lightning Rods panel at the University of York. Co-organised with Judith Buchanan, Helen Smith, Jon Mee and Craig Taylor.
  • September 2014: Sculpture Victorious, interdisciplinary half day scholars symposium at the Yale Center for British Art. Co-organised with Martina Droth and Michael Hatt.
  • February 2014: Fat Art, Thin Art, half-day international symposium at the University of York.
  • February 2014: A Lovely Dialogue, Critics and Poets, Friends and Fans international symposium at the University of York.
  • September 2013: Displaying Victorian Sculpture one-day symposium at the Thorvaldsen Museum, Copenhagen. (Co-organised = with Michael Hatt, Lene Oestermark-Johansen, and Claire Jones).
  • July 2013: Displaying Victorian Sculpture half-day symposium at the V&A. (Co-organised = with Michael Hatt and Claire Jones).
  • June 2013: Displaying Victorian Sculpture two-day symposium at the National Museums on Merseyside. (Co-organised = with Michael Hatt and Claire Jones).
  • May 2013: Displaying Victorian Sculpture two day symposium at the National Museum of Wales. (Co-organised = with Michael Hatt and Claire Jones).
  • March 2013: Displaying Victorian Sculpture two day symposium at the Kelvingrove Art Gallery, Glasgow. (Co-organised = with Michael Hatt and Claire Jones).
  • February 2013: Tendencies at Twenty, half-day symposium at the University of York.
  • February 2013: The Academy Just Isn’t Funny Enough Lightning Rod symposium at the University of York.
  • November 2012: Things that Matter poetry and performance symposium at the University of York.
  • November 2012: Theory has Never been Secular Lightning Rod symposium at the University of York.
  • October 2012: Democracy Needs the Humanities: Lightning Rod Symposium at the University of York.
  • June 2012: Queer Animals, one day international conference at King’s College, London. Co-organised with Bob Mills and Ben Nichols.
  • June 2012: Displaying Victorian Sculpture, half-day symposium at the University of York. Co-organised = with Michael Hatt and Claire Jones.
  • May 2011: On Sentimentality, half-day symposium at the University of Exeter. Co-organised with Nicola Bown.
  • April 2011: The Here and Now: Thinking the Contemporary Across Disciplines, half day symposium at the University of York. Co-organised with Mike Savage.
  • Spring 2011: Postcolonial Voices (CMODS and HRC mentor).
  • May 2010: Thinking Niche, half-day conference at the University of York. Co-organised with Helen Hills.
  • February 2010: The World of Victorian Sculpture conference, one-day international conference at the University of York.
  • November 2008: Victorian Sculpture in its Global Contexts panel, North American Victorian Studies Association at Yale University.
  • February 2008: Nineteenth-Century Sculpture in the Circum-Atlantic World, half-day international symposium at the University of York.
  • February 2007: Revisiting Victorian Sculpture, half-day international symposium at the University of York.
  • November 2006: Theorising Relief: Renaissance, Victorian, Modernist: half-day symposium at the University of York.
  • October 2005: The Aesthetic Interior two day, international and interdisciplinary conference at the Institute of English Studies. Co-organised with Imogen Hart.
  • June 2005: English Sculpture 1780-1940: New Perspectives, one day postgraduate conference at the University of York.
  • September 2003: Boxing Clever: A Centennial Re-Appraisal of Joseph Cornell two day, international and interdisciplinary conference at the University of Essex. Co-organised with Stephanie L. Taylor.
  • July 2001: Anxious Flirtations: Homoeroticism, Art, and Aestheticism in Late Victorian Britain two day, international and interdisciplinary conference, Centre for English Studies, University of London.
  • October 2000: The Cult of the Statuette in Late Victorian Britain, half day symposium, Lotherton Hall. Co-organised with Martina Droth, David Getsy, and Matthew Withey.
  • March 1997: Sculpture, Literature, Symbolism and Its Legacy symposium, Henry Moore Institute. (Co-organised with Fiona Russell).

 

Talks

  • The Elephant in the Room? Edward Onslow Ford and the Absent Referents of Victorian ‘Animalier’ Sculpture’, With their skins on them, and ... their souls in them': Towards a Vegan Theory (University of Oxford, May 2016).
  •  ‘Looking at the Overlooked: William Coombe Sanders’s Frame Resembling Carved Wood with Lobster and Crab Motif’, Department of English, University of Oxford: May 2016.
  • ‘Empire of the Son?, or, Not in My Name’, Joining the Dots: British Art History and Imperialism half-day symposium, University of York: May 2016.
  •  ‘Stone the Crows, or Siding with Hitchock’s Birds: On the Humanimalities’, University of York: February 2016.
  • Queer Buddhism? Fishing in the Bowels of Eve Kosofsky Sedgwick’s Bodhisattva Fractal World’, LGBT History Month, University of York: February 2016.
  •  ‘A Piss on the Grass? Between Men (and Women) at Thirty’, Between Men at Thirty conference at the Graduate Center, City University of New York: October 2015.
  • ‘The Queer Material Structure of the Visible Book: Epistemology of the Closet at Twenty-Five’, University of the Arts, London: June 25 2015).
  •  ‘A Tale of Two Critics? Critical Reflections on Sculpture Victorious: Art in an Age of Invention, 1837-1901’, University of York: May 2015.
  • ‘Meta-memoralising the Crimea: Carlo Marocheti’s Coldstream Guards Memorial (1860-1865)’, Centre for Eighteenth-Century Studies, University of York: May 2015.
  •  ‘Empire, Eclecticism, and Animality: Sculpture Victorious: Art in an Age of Invention, 1837-1901’, Birkbeck College, April 2015.
  • ‘Looking at the Overlooked: Dead British Animals, or, Vegetarians on the Verge of a Nervous Breakdown’, Death in British Art, The University of York: March 2015.
  • ‘Monogamy, Polyamory, Sympathy and Rivalry: Practicing Collaborative Research’, York Impact Festival, University of York: March 2015.
  • ‘The Elephant in the Room: Humility and Humanimaility, and Victorian ‘Animalier’ Still Life’, Sculpture and Literature at the Fin de Siecle, Tate Britain: March 2015.
  •  ‘Worlding’, Networks, Systems, Them, Me, Us, Humanities Research Centre, University of York: January 2015.
  • ‘Periodisation, 1830 to the Contemporary’, Periodisation: What’s the Point?, Humanities Research Centre, University of York: October 2014.
  • Sculpture Victorious: Eclecticism and Empire’, Yale Centre for British Art: September 11 2014).
  • ‘Sperm, Blood, Blubber, Bone, Oil and Water: The Nineteenth-Century Visual and Literary (Sub)Cultures of Whaling’, Maritime Culture and Britain in the Age of J.M.W. Turner conference: National Maritime Museum: March 2014.
  • ‘Who Fed This Muse? Eve Kosofsky Sedgwick as a Poet’, Fat Art Thin Art: Eve Kosofsky Sedgwick as a Poet symposium: University of York: February 2014.
  • ‘The Circum-Polar World: Victorian Arctic Post-Humanism’, Posthumanism and the Viewing Subject symposium: UCL: December 2013.
  • ‘The Industrial Spectacle of Victorian Monuments: Constructing and Transporting Wyatt’s Wellington’ and ‘The Truth About Alfred Stevens’s Truth and Falsehood’, Contextualising Victorian Sculpture, one day symposium: V&A: July 2013.
  • ‘Matchstalk Men and Matchstalk Cats and Dogs, or, What’s So Funny About Peace, Lowry, and Understanding?’ Representing the Industrial Scene: Lowry in Context 1900-1980 symposium, University of York: May 2013.
  • ‘Porn, Pets and Pederasty: The Pedagogy of Thorvaldsen’s Ganymede with Jupiter’s Eagle (1817)’, Thorvaldsen Museum, Copenhagen: April 2013.
  • ‘Silver Shields and Leather Lobsters: Victorian Sculpture at the Great Exhibitions’, V&A, February 2013.
  • ‘The Academy Just Isn’t Funny Enough!’, The Academy Just Isn’t Funny Enough, University of York: January 2013.
  • ‘Theory Has Never Been Secular?’, Theory Has Never Been Secular, University of York: November 2012.
  • ‘Democracy Needs the Humanities?’, Democracy Needs the Humanities, University of York: October 2012.
  • ‘Eve’s Queer Pandas’, Queer/Animals, King’s College, London: June 2012.
  • ‘A Monumental Place to Perch? Thomas Woolner’s Captain Cook for Sydney’, Displaying Victorian Sculpture symposium: University of York, June 2012.
  • For Beauty is a Series of Hypotheses? On Eve Kosofsky Sedgwick’s Bodhisattva Fractal World’, University of Manchester: January 2012.
  • ‘Living (with Animals) Beyond Theory?’, Living Beyond Theory symposium, University of York: January 2012.
  •  ‘Packing William Etty? Sleeping Nymph with Satyrs (1828)’, Unpacking William Etty Conference: York City Art Gallery: November 2011.
  • ‘Paper Worlds: The Cultural Geography of the Sydenham Portrait Gallery’, What is to Become of the Crystal Palace? The Crystal Palace After 1851 conference: University of York, June 2011.
  • ‘The World of Victorian Portraiture: The Portrait Gallery of the Crystal Palace, Sydenham, c.1854’ Plaster Casts at South Kensington: Reproducing Art in the Nineteenth Century, V&A: May 2011.
  • ‘The Cultural Geographies and Ecologies of Victorian Sculpture’, The Parry Lecture (given with Michael Hatt), University of Bristol: May 2011. (Also given at the University of Warwick: May 2011).
  • ‘On the Here and Now, or, How Better to Be Here Now: Thinking Through, and Into, the Contemporary Across Academic (and Spiritual) Disciplines’, The Here and Now: Thinking the Contemporary Across Disciplines, University of York: April 2011.
  • Queer and Now: On William Etty’s Male Nude with Arms Upraised (c.1830) and Autobiography (1849), Emory University: April 2011.
  • Materialising Interiority? Eve Kosofsky Sedgwick’s Patchwork Panels’, Yale University: November 2010.
  • Displaying Victorian Sculpture’, The Proposition, Humanities Research Centre: October 2010.
  • For Beauty is a Series of Hypotheses? On Eve Kosofsky Sedgwick’s Bodhisattva Fractal World’, Graduate Center, City University of New York: October 2010.
  • Hollow Embrace: Thinking Niche’, Niche, University of York: May 2010.
  • ‘White Spaces: Epistemology of the Closet Reconsidered’, King’s College, London: March 2010.
  • ‘The World of Victorian Sculpture’, The World of Victorian Sculpture, University of York: February 2010.
  • War and Peace: Harry Bates’s Lord Roberts Memorial in London, Glasgow and Calcutta, c.1895-1930,’ University of York Centre for Modern Studies: November 2009.
  • We Have Never Been Modern? The Antiquity of John Gibson’s Modernity’, The Modernity of Ancient Sculpture, University of Bristol: July 2009.
  • Whilst We Were Sleeping: On Not Forgetting Edmonia Lewis’, Anglo-American Exchanges: The University of York, July 2009.
  • Another World? Trans-National Trends in Victorian Sculpture’, Exploring Art History and Transnationalism, The University of York: January 2009.
  • ‘“By Abstraction Springs Forth Ideal Beauty?’: John Gibson’s Modernity’, Living with the Royal Academy: Artistic Ideals and Experiences in Britain, 1768-1848: The University of York: November 2008, The University of Birmingham: March 2009.
  • ‘Victorian Sculpture in its Global Contexts’, Yale University: November 2008.
  • ‘Nineteenth-Century Sculpture in the Circum-Atlantic World’, University of York: February 2008.
  • The Fat Woman’s Closet? Further Notes on Eve Kosofsky Sedgwick’s Floating Columns/In the Bardo’, Department of Art History, University of Warwick: January 30th, 2008.
  • Generations of Modernism: Edmund Gosse and Sculptural Modernity, c.1857, 1890-94, 1907’, College Art Association (Dallas): February 2008.
  • ‘Autobiographies: Eve Kosofsky Sedgwick’s First Person’, Tufts University (Boston): December 6, 2007.
  • A Curious Feature: Harry Bates’s Holy Trinity Altar Front’, Harry Bates and His Circle, V&A: July 6 2007.
  • One Impossible Inch to the Side of Real Art: Sedgwick as Visual Artist’, Queer Positions symposia series,University of York: June 2007.
  • For Beauty is a Series of Hypothesis: Notes Towards An Interpretation of Eve Kosofsky Sedgwick’s Floating Columns/In the Bardo’, University of Birmingham: March 22, 2007. Also University of Kent: March 19, 2008.
  • Stoicism, Sensationalism, Symbolism, Modernism: The Surfaces of European Sculpture, 1848-1939’, Studies in Art Research Group, London: March 20, 2007/University of Warwick Department of Art History: January 30th, 2008.
  • Whatever Next: Victorian Sculpture: An Historiographic Introduction’, Revisiting Victorian Sculpture, University of York: February 28, 2007.
  • Half-Hearted Aestheticism: Leighton House - Politics, Erotics, Aesthetics’, College Art Association (Boston): February 2006.
  • ‘The Open Secret of Leighton House’, University of Edinburgh: November 2005.
  • ‘The Aesthetic Interior? – Neo-Gothic, Aesthetic, Arts and Crafts’, and ‘The Open Secret of Leighton House’, The Aesthetic Interior, Institute of English Studies: October 2005.
  • ‘The Sculptural Programme of the Natural History Museum’ and ‘Academic Aestheticism: Alfred Gilbert and Frederic Leighton’, The University of Warwick: January 2005.
  • ‘Coming Out as a Cornellian’, Boxing Clever: A Centennial Reappraisal of Joseph Cornell conference, Essex University: September 2003.
  • ‘Gender & the New Sculpture’, The New Sculpture, Nottingham University: March 2003.
  • Anxious Flirtations?’ and ‘From Cleveland Street to Bruges: Alfred Gilbert’s Aestheticism at the Fin-De-Siècle’, Anxious Flirtations: Homoeroticism, Aestheticism and Art in Late-Victorian Britain, Senate House: July 2001.
  • An Entirely Unimportant Deviation?: Aestheticism and the Critical Location of the Victorian Statuette’, The Cult of the Statuette in Late Victorian Britain, Lotherton Hall: November 2000.
  • ‘F.W. Pomeroy and the Queer New Sculptural Encounter’, The University of York: November 1999.
  • ‘Greene’s Swedish Modernism: Modernist Aesthetics and Communications Technologies in England Made Me’, The Open University: August 1998.
  • ‘Sculpture in the Bedroom, Statues at the Gym: Eugenic Visions of Classical Sculpture, 1867-1939’, Sculpture, Literature: Symbolism and Its Legacy, Henry Moore Institute: March 1997.
  • ‘Of Faeries and Fairies: Fin-de-Siècle Discourses on Occult Subject-Object Relations’, The Objects Of Modernism, Southampton University: July 1995.
  • From Camp to Connoisseur: The Changing Phenomenology of Yeats’s Fairies at the Fin-de-Siècle’, The Victorian Supernatural, University of North London: November 1995.
  • ‘Enervation, Degeneration, and Victorian Ideas of Regenerative Writing’, Gender and Writing, University of Cambridge: May 1995.
Jason Edwards

Contact details

Prof. Jason Edwards
Professor of History of Art
Department of History of Art
Room V/232

Tel: 01904 324250

Office hours: Please email Jason for an appointment