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Fine Arts MA,PgDip,PgCert

MA Fine Arts

The Course Programme Structure Staff Profiles Why YSJ ? Student Voices


Dr Justin McKeown

Head of Programme: Fine Arts

Artist, scholar, art-writer and curator with research interests encompassing sculpture; lens-based, new media; interactive installation; computer programming; electronics; performance art; installation art; site-specific practices; mail art and drawing. Justin’s work across these fields is informed in particular by issues of aesthetics; politics; economics; statecraft; spatial practices; phenomenology; play and histories and theories of the classical and neo-avant-garde.

Justin’s understanding of politics, social theory and history combined with his knowledge of art and various making techniques has led him to conceive a multifaceted, cross disciplinary art practice and to participate in many international exhibitions, conferences, meetings, publications and dialogues in various countries including the UK, Ireland, Germany, Serbia, Hungary, Lithuania, Czech Republic, Bulgaria, Croatia, America, Canada and Taiwan. From 2008 – 2010 Justin was a regular writer for Circa Magazine, Ireland’s leading Art publication. In 2009 Justin was a peer reviewer for ISEA: the International Symposium on electronic Arts.


Dr Vanessa Corby

Lecturer in the Theory, History and Practice of Fine Art

Vanessa’s research is the product of a fascination with the processes, materiality and performativity of art practice and the means by which they are implicit within the negotiation and transformation of artistic protocols, culture, history and society. In particular her attention to the historical specificity of art production is marked by a desire to read for the way in which the production of artworks may go against the grain of dominant ideology to negotiate marginalised, silenced experience. Thus her research considers the material and theoretical concerns of class, ethnicity and sexual politics within the context of cultural memory, displacement, migration and trauma.

Vanessa’s articulation of process as a supplementary mode of signification in this research has been dependent upon a close reading of the methodologies of the history of art. Her approach again has been informed by an interest in those objects often silenced by discourse. Consequently, this work often underlines that which has often been culturally overlooked, or art historically dismissed as work for art rather than valued as a work of art.


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