Andrea Phillips

Dr Andrea Phillips is BALTIC Professor and Director of BxNU Research Institute, Northumbria University & BALTIC Centre for Contemporary Art. Andrea lectures and writes about the economic and social construction of public value within contemporary art, the manipulation of forms of participation and the potential of forms of political, architectural and social reorganization within artistic and curatorial culture. Recent publications include: ‘Educational Investment: a context for CAMPUS’ in (ed. Carolina Rito), Nottingham Contemporary Journal (Nottingham: Nottingham Contemporary/eflux, 2019), ‘Social Dreaming: Learning about curating at Iniva and Santiniketan’ in (eds. Choi, Rosenthal, Watson), Practice International (London/Utrecht: Iniva/CASCO, 2019); ‘The Imperative for Self-attainment: From Cradle to Grave’ in (eds. Choi, van der Heide), Unlearning (Utrecht: CASCO, 2018); ‘Forgetting the Public’ in (ed.) Mick Wilson, Park Lek (London: Black Dog, 2018); ‘in conversation with Keller Easterling’ in (eds.) O’Neill, Steel, Wilson, How do Institutions Think? (Massachusetts: MIT, 2017); ‘Artistic research, publishing and capitalisation’ in (eds.) Kaila, Seppä, Slager, The Futures of Artistic Research (Helsinki: University of the Arts, 2017); ‘Where is the “Former” in Neocoloniality’ in FormerWest: Art and the Contemporary After 1989 (BAK/MIT, 2017), ‘Making the Public2’ in I Can’t Work Like This (Sternberg, 2017), ‘In Service: art, value, merit and the making of publics’ in Public Servants, (MIT/New Museum, 2016, ‘Devaluation’, PARSE Vol 1 no 2 The Value of Contemporary Art (Gothenburg: University of Gothenburg 2015); ‘Invest in what? How to work together, the Arts Council’s Catalyst Fund and art’s contemporary economic infrastructure, How To Work Together (Chisenhale Gallery, The Showroom, Studio Voltaire, 2015).

Her forthcoming book Contemporary Art and the Production of Inequality will bring together discussions on the politics of public administration and management with recent analyses of arts institutions, alongside debates on value (public and private) informed by research into the political functions of the art market and personal experience of organizing, lobbying, and governing contemporary arts institutions, arts education institutions, and working directly with artists.