Jonathan P. Watts (he/him) is a fully-funded PhD candidate at Norwich University of the Arts supervised by Professor Simon Willmoth and Professor Jo Melvin at Chelsea College of Arts, University of the Arts London.
Jonathan’s research project is on EASTinternational, an annual open-submission exhibition selected by invited guests – renowned artists, critics and gallerists – that occurred at Norwich annually from 1991 to 2009. Organised by curator Lynda Morris, devised with artist-educator Manuel Chetcuti, it formed a vital part of the Norwich Gallery programme, where Morris was director from 1981–2007.
Initially known as ‘EAST National Open Art Exhibition’, EASTinternational was envisioned as a networked model to be replicated in art schools throughout the UK. EAST would be an essential component of a sustainable, decentred regional art economy networked beyond the imperial city of London. Jonathan’s research explores artist-centred exhibition-making practices, legacies of decentralisation, and transnational solidarities. Primary research is carried out in the EAST archive at Norwich, fieldwork in the institution, and through oral history interviews with participants.
Jonathan is a research tutor in Contemporary Art Practice at the Royal College of Art, London. He is co-director of Josey gallery, Norwich. Jonathan has published widely on contemporary art.
This PhD is a combined practice and theoretical exploration that aims to identify and document photographically the nature and consequences of this economic decline in the form of a visual narrative that will raise awareness of these problems and the potential for regeneration.
This research project seeks to interrogate and reframe the thinking of horror through a rigorous engagement with its formal limits.
A love of secondhand clothing lies at the core of this research project.
This PhD by curatorial practice focuses on a group of embroidered textile testimonies made at the turn of the twentieth century by an inmate of the Female Lunatic Ward of Great Yarmouth Workhouse.
Roger Ackling – Work and Teaching 1969 to 2014 This PhD by curatorial practice focuses on the work of British artist Roger Ackling (1947 – 2014). Ackling’s career is notable for his artistic practice and his long and influential teaching career. The research aims to understand his work in relation to Land Art, Minimalist and Conceptual Art movements and the impact of his practice on artists he worked with and taught.
New perspectives on VJ practice: The art of performing moving image
The Work of Richard Seifert & Denys Lasdun: A Comparative Study of Their Buildings and Reputations.
Interrogating Artist-Teacher identity formation in Adult Community Learning
Spectral Shores: vanishing places and haunted spaces. Coastal Erosion and its effect on perceptions of time and the cultural construction of coastal landscapes
In Transition: People, landscape and nature in the East Anglian edgelands