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Mr Max Mosscrop

Job: Principal Lecturer

Faculty: Arts, Design and Humanities

School/department: School of Visual and Performing Arts

Research group(s): Fine Art Practices Group

Address: De Montfort University, The Gateway, Leicester, UK, LE1 9BH

T: +44 (0)116 207 8467

E: mmosscrop@dmu.ac.uk

W: www.dmu.ac.uk/arts

 

Research group affiliations

  • Fine Art Practices Group

Key research outputs

  • Platform X (A), Permanent Gallery, Brighton, 2010
  • Love is a Highway, Five Years Gallery, London, 2010.
  • Reconstructing the Old House, The Nunnery, London and the Ruskin Gallery Cambridge, 2009
  • Pattern Recognition, City Gallery, Leicester, 2009;
  • Cortez Arrives, Herbert Read Gallery, University for the Creative Arts Canterbury, 2009;

Research interests/expertise

Contemporary Art Practice

I’m interested in asking, through art, how the world becomes thoughtful. I do this by making things – paintings, drawings, objects, exhibitions – and speculating, always inconclusively, about what’s been made.   I see art as a playful way of posing questions about life, of exploring such deceptively simple activities as thinking, feeling and looking.  I have a particular interest in the involvement of apparently unreasonable processes in contemporary art, such as the affective, non-representational dimension of its experience, or the use of chance, accident or spontaneity in research methodologies. 

Areas of teaching

  • Art Practice
  • Contextual & Professional Studies

Courses taught

  • Fine Art BA (Hons)
  • Fine Art MA

Current research students

  • Juri Kobayashi, part-time, 1st supervisor
  • Jason Carey, part-time, 1st supervisor

Case studies

Cortez Arrives: curation and participation in group exhibition at Herbert Read Gallery: The Herbert Read Gallery has a significant national profile, with an archive that includes artists such as Mike Nelson, Wolfgang Tilmans, Adam Chodzko and Paul Thek.  The public profile of the gallery ensured dissemination of the work.  Sited within a higher education institution, this exhibition was ideally placed to facilitate academic discourse on its theme.   During the exhibition, there was an open discussion / debate chaired by the Dean of UCCA and presented by the artists.  This provided an opportunity to debate the relevance of apparently irrational methodologies in creative practice, in particular in relation to art education where strategies and methodologies are under sharp focus.  Three higher education institutions were represented by the exhibiting artists who hold senior lecturing positions; De Montfort University, Leicester, University College of the Creative Arts and NUCA.  With the exhibition and critical text at its centre, this debate was a valuable opportunity for knowledge transfer between artists, academics and students from all three universities.

The gallery provided funding in kind of £3500 covering admin, invigilation, publicity, printing and transport costs.

The website www.cortezarrives.com contained the following:

  • Images of the exhibition
  • Essay by Kate Fowle
  • Background information on all the participating artists

Pattern Recognition at City Gallery: Overall visitor figures for Pattern Recognition were 6,135.

Exhibition had the following press coverage:

  • Art Monthly - October 2009, review by Stephen Lee
  • Crafts magazine Sept / Oct 2009
  • Leicester Mercury - The Week (June 18/ Leslie Goodwin preview)
  • Leicester Mail 19th June 2009Guardian website - Weeks choice
  • http://www.guardian.co.uk/artanddesign/2009/jun/19/exhibitionist-art-shows-this-week 
  • Guardian Guide - Saturday 27 June (including a colour image of work by Max Mosscrop)
  • Guardian Guide Exhibitions Pick of the Week 4th July 2009
  • Metro Life (East Midlands) - Wednesday 24 June
Max Mosscrop

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