Bridget Crone

Bridget Crone (1973–2023) was a writer and curator based in London, UK. She was a senior lecturer in Visual Cultures at Goldsmiths College, The University of London, where she co-convened the Ph.D. programme in Advanced Practices. Bridget died of ancer on 28th January, 2023, before the publication of this book, for which she is the founding editor.

Crone had significant professional curatorial experience in the visual arts sector stretching across more than twenty years, working in the UK, Australia and internationally. She was the artistic director of Media Art Bath from 2006 to 2011 – a publicly funded research-based commissioning agency based in South West England – and, prior to that, she was curator at The Showroom Gallery, London. Crone also taught at universities and art schools in the UK and Australia, including Chelsea School of Art and Design, Monash University, and Victorian College of the Arts, Melbourne, as well as giving guest lecturers and seminars at universities across the UK. She was a member of the European Forum for Advanced Practices, a Europe-wide network engaged in questions of artistic research and a COST (European Cooperation in Science and Technology) Action.

Focusing on the body in material and speculative terms, Crone’s work explores questions of ‘liveness’ and the image in relation to contemporary performance art and moving image practices, and the changing relations of body, technology and ecology. Her edited book The Sensible Stage: Staging and the Moving Image, was published in a second revised and extended edition in 2017. In 2022, Fieldwork for Future Ecologies, was published; co-edited by Crone, Sam Nightingale and Polly Stanton, (2022). Recent essays include: ‘Future’, with Henriette Gunkel, in The Bloomsbury Handbook for 21st Century Feminist Theory (2019) and ‘Flicker-time and Fabulation: from flickering images to crazy wipes’ in Fictions and Futures, (2017). Recent curatorial projects include Propositions for a stage: 24 frames of a beautiful heaven (2017, Institute of Contemporary Art, Singapore), Spectral Ecologies (2017, Mildura Arts Centre) and the multiple site-based project The Cinemas Project: exploring the spectral spaces of cinema in Regional Victoria (2014, Latrobe Regional Gallery, Bendigo Art Gallery, Warrnambool Art Gallery, Mildura Arts Centre, Geelong Gallery). Bridget wrote regularly for artists and recently published an extended introduction, titled ‘Wounds of Unbecoming’ (addressing questions of gender and trans materiality), for Turner Prize winner Tai Shani’s collected writings, Our Fatal Magic (2019).