Current PhD students
- Florrie Badley, 'Painting in the Age of Print: Radical Materiality in Transmission'
- Kylie Gilchrist, 'Structures of Transformation: the Politics of Artistic Form in the Work of Rasheed Araeen, 1952–1978'
- Janelle Hixon, 'Looking Homeward: Structures of Longing in Contemporary Video Art'
- Murray Rosen, 'Play and Identity in Surrealism during WWII: Triple V and the "myth in process of formation beneath the veil of happenings’
- Xiying Wang, 'Dante's vision and the visualisation of nudity in Italian art c.1300-1450'
- Niels Weijenberg, 'Divine writing: Visualising the first language in the early modern Low Countries'
- Gregory Williams, 'Drawing From Experience: Experimental Graphic Practice in the Light of the Surrealist Image'
2022, Jadranka Ryle, 'Modern Woman: Hilma af Klint and the Emergence of Abstraction'.
2020, Eiman Alrashaidi, ‘The veil as a tool of expression in the work of Arab women artists’.
2018, Suzanne Mangion, ‘Marvellous noise and modest recording instruments: Dada, Surrealism, and early sound cinema’.
2018, Rosalina Quintieri, ‘Dolls after the avant-garde: Lacanian psychoanalysis and the end of the uncanny’.
2018, Rebecca Hurst, ‘The Iron Bridge and Digging deep: the enchanted underground in Pavel Bazhov's 1939 collection of magic tales, The Malachite Casket’.
2017, Nicola Astidullo-Jones, ‘Consuming Latin America: the ¡Viva! Film Festival and imagined cosmopolitan communities’.
2017, Neil Macdonald, ‘Wound Cultures: explorations of embodiment in visual culture in the age of HIV/AIDS’.
2017, Luke Healey, ‘The Art of Football: Visual Culture and the Beautiful Game, 1992-2016’.
2016, Naomi Billingsley, ‘The Visual Christology of William Blake’.
2016, Hee Jung Lee, ‘Exploring Visual Modernity and National Identity in Twentieth-Century China: Fu Baoshi's Self-awareness and Critical Response during the Sino-Japanese War (1937-1945)’.
2016, Camilla Rostvik, ‘At the Edge of their Universe: Artists, Scientists and Outsiders at CERN’.
2016, Alison Criddle, ‘Madeleine time: Alfred Hitchcock’s “Vertigo” (1958), Percy Adlon’s “Céleste” (1980), and Chantal Akerman’s “La Captive” (2000)’.
2015, Wendy Smith, ‘Reviving Fortuny’s Phantasmagorias’.
2015, Meriel Boyd, ‘In Their Own Image? Church-Building in the Deanery of Manchester 1847-1903: Relationships between Donor, Architect and Churchmanship’.
2015, Giovanni Raneri, ‘Folding Screens, Cartography, and the Jesuit Mission in Japan, 1580-1614’.
2014, Carol Huston, ‘Edoardo Paolozzi and JG Ballard: Representing New British Modernities, c. 1966-1980’.
2014, Beatrice Mezzogori, ‘Splendour Displayed: State barges, embroideries and power in Renaissance Ferrara’.
2014, Andrew Hardman, ‘Studio habits: Francis Bacon, Lee Krasner, Jackson Pollock, and Agnes Martin’.
2014, Darin Stine, ‘Michelangelo and San Lorenzo: A Case-Study of Building Practices for Renaissance Church Facades’.
2014, Malcolm Speakman, ‘Shell’s England: Corporate patronage and English art in the Shell poster of the 1930s’.
2013, Pamela Walker, ‘Fashioning Death: The choice and representation of female clothing on English Medieval Funeral Monuments, 1250-1450'.
2009, Sophie Everest, ‘“Under the skin”: the biography of a Manchester mandrill’.
2009, Anna Piperato, ‘Saint Catherine of Siena in three Italian life cycles: 1567-1600’.
2007, Anne Kirkham, ‘Medieval Art Writing and the Study of Art History’.