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Centre for Modern Thought

Dr Alexandra M. Kokoli

Dr Alexandra M. Kokoli

DPhil, MA, BA (Hons), Lecturer in Critical and Contextual Studies, Gray’s School of Art

Academic and Professional Qualifications

  • 1997 BA (Hons) in Literature, Aristotle University of Thessaloniki, Greece
  • 1998 MA (distinction) in Comparative Literary Theory, University of Warwick 2004
  • DPhil in Modern European Literature; thesis titled ‘“Pourquoi Sorcières?” Second-wave Feminism and the Uncanny’, University of Sussex

Current Professional Affiliations

  • 2005 Member of the Association of Art Historians (UK)
  • 2005 Member of the Feminist and Women’s Studies Association (UK and Ireland)
  • 2007 Member of the College Art Association

Employment Experience

  • 2002-2003 Research Assistant to Professor Deborah Cherry, University of Sussex
  • 2003-2004 Visiting Fellow and Guest Lecturer, International Study Centre at Herstmonceux Castle, Queen's University (Canada)
  • 2003-2007 Associate Tutor, University of Sussex
  • 2005-2006 Lecturer in the Humanities (part-time), University of Brighton
  • 2007 Lecturer in Critical and Contextual Studies, The Robert Gordon University

Main Subject/Interest Areas

  • Art and Feminism
  • Critical and psychoanalytic theory
  • Feminist and postcolonial critiques of art history, theory, and practice
  • Contemporary women artists
  • Gender, sexuality and subjectivity

Related Public Output

  1. ‘Revenants and Reconstructions in Angela Carter’s “The Cabinet of Edgar Allan Poe”: Towards a Feminist Remodelling of (Meta)History’, In-Between: Essays and Studies in Literary Criticism, vol. 11, n. 1 (March 2002): 55-70.
  2. ‘Undoing “homeliness” in feminist art: Feministo: Portrait of the Artist as a Housewife (1975-7)’, n.paradoxa: international feminist art journal, vol. 13: Domestic Politics (January 2004): 75-83.
  3. ‘Susan Hiller’s Paraconceptualism’, in Jennifer Fisher (ed.), Technologies of Intuition (Toronto: YYZ Books/ MAWA/ DisplayCult, 2006): 119-139.
  4. ‘Normal Flora and the Bacterial Sublime: An Interview with Anna Dumitriu’, n.paradoxa, vol. 20: Translate/Narrate (July 2007): 5-12.
  5. (ed.), Feminism Reframed: Reflections on Art and Difference (Cambridge Scholars Publishing, in press).
  6. ‘Fetishism and the Stories of Feminist Art’, in Alexandra M Kokoli (ed.), Feminism Reframed: Reflections on Art and Difference (Cambridge Scholars Publishing, in press).

Also, numerous reviews in The Art Book and The F-Word, and conference presentations including:

  • ‘“You are primitive but very pretty”: Rethinking the Model in Faith Ringgold’s Story Quilts’, Association of Art Historians (AAH) Conference, University of Bristol, 31 March-2 April 2005.
  • ‘“Tracey Emin” as Sign’, Feminism in the Arts in Contemporary Britain, York St. John, University of Leeds, 2 July 2005.
  • ‘Looking On, Looking Awry, or Just Looking? On the Futures of Feminist Art History’, Disturbing Differences: Feminist Readings of Identity, Location, and Power International Conference, University of Turku, Finland, 18-19 May 2007.