缅北禁地

I am Senior Lecturer in Art History in the Fine Art department at 缅北禁地. Before coming to 缅北禁地, I taught at the University of York and the University of Edinburgh. I have a PhD in American Studies from King’s College London (KCL) and a BA and MA in History of Art from the Courtauld Institute of Art. My research and teaching explores LGBTQ+ and feminist art and art history from the 1970s to the present, mostly in Europe and the USA. I am particularly interested in art and art history in the context of the ongoing HIV/AIDS crisis, how ephemeral queer cultures might be archived or otherwise preserved through art and writing, and the relationship between art and music.

My research explores queer art and art history from the 1970s to the present, mostly in Europe and the USA. I am particularly interested in queer art and art history in the context of the ongoing HIV/AIDS crisis and how ephemeral queer cultures might be archived or otherwise preserved through art and writing.

I am the author of the book  (University of Chicago Press, 2019), which examines the erotic and political roles that New York's post-industrial landscape played for various queer communities in the city. Telling the story of the piers as gentrification swept New York and before the AIDS crisis, Cruising the Dead River unearths buried histories of violence, regeneration, and LGBTQ activism that developed in and around this cruising scene. My writing has also been published in journals such as Third Text, Performance Research, Journal of American Studies, and Oxford Art Journal.

From 2016-2019, I was UK lead for (CRUSEV), a collaborative, international research project with partners in Spain, Poland, Germany and the UK which explored and reconstructed aspects of LGBTQ+ social and sexual cultures of the 1970s and examined their significance for LGBTQ+ people, queer organising, and queer artmaking across Europe in the present and future. CRUSEV was funded by Humanities in the European Research Area (HERA). In 2019-2020, I was CI on the project (AHRC-GCRF), leading writing workshops with colleagues in Uganda and mentoring art writers.

My current research includes a special issue of British Art Studies on , co-edited with Flora Dunster, Theo Gordon, and Laura Guy, and a project looking at HIV/AIDS-related cultural production in the North East of England and regional approaches to histories of HIV/AIDS-related art. Longer term, I am planning a book about music in the work of various British women artists, including Lubaina Himid and Maud Sulter. This work draws on my monthly radio show and club night , which explores country music, folk, and Americana from a queer feminist and global perspective. Wildflowers is broadcast on Slack's Radio, a community-led radio station based in The Lubber Fiend in 缅北禁地, where the club night also happens.

I am the Director of Research for the School of Art and Cultures.

I am Reviews Editor for journal.

I teach at undergraduate and graduate level. At 缅北禁地, I teach Art History modules on feminist and queer approaches to modern and contemporary art, and art writing. In 2018 and 2021, I was shortlisted for a 缅北禁地 Teaching Excellence Award for Outstanding Contribution to Equality and Diversity in Teaching. I am a member of the School of Arts and Cultures Anti-Racist Curriculum Project team.

Undergraduate teaching 

Stage 1

• Art Histories I and Art Histories II

Stage 2

• Feminist and Queer Approaches to Modern and Contemporary Art

Stage 3

• Dissertation supervisor

Stage 4

• Art Writing

PhD supervision

I have experience supervising Art History and Fine Art practice-based PhD students. I welcome enquiries from potential PhD students working on topics relating to modern and contemporary art and queer history, HIV/AIDS and art, gentrification and art in the urban context, and art and queer archives.

Recent completions include Jez Coram, Aleksandra Gajowy, and Benny Nemer.

• Articles

  • Anderson F. . British Art Studies 2025, (27).
  • Anderson F. . Oxford Art Journal 2024, 46(3), 451-469.
  • Anderson F. . Third Text 2021, 35(1), 53-79.
  • Anderson F, Davis G, Raha N. . Third Text 2021, 35(1), 1-9.
  • Anderson F. . Performance Research 2015, 20(3), 135-144.
  • Anderson F. . Shima: The International Journal of Research Into Island Cultures 2015, 9(1), 18.
  • Anderson F. . Journal of American Studies 2015, 49(1), 55-75.
  • Anderson F. . Papers of Surrealism 2010, (8).

• Authored Book

  • Anderson F. . Chicago, USA: University of Chicago Press, 2019.

• Book Chapters

  • Anderson F. . In: Peter Hujar: Eyes Open in the Dark. London: Raven Row, 2025.
  • Anderson F. . In: Freed-Thall, H; González, O; Richards, J, ed. The Oxford Handbook of Queer Modernisms. Oxford University Press, 2025. In Press.
  • Anderson F. . In: Marcus Jack, ed. Cinema Despite: Reviewing artists' film and video in Scotland. Glasgow: Transit Arts, 2023.
  • Anderson F. . In: Davis, G; Guy, L, ed. Queer Print in Europe. Bloomsbury, 2022.
  • Anderson F. . In: Catrin Huber, ed. Expanded Interiors at Herculaneum and Pompeii. Bielefeld/Berlin, Germany: Kerber Art, 2019.
  • Anderson F, Tobin A. . In: Brown MA: Fisher MM, ed. Collaboration and Its (Dis)contents: Art, Architecture, and Photography Since 1950. London: Research Forum of The Courtauld Institute of Art, 2017, pp.158-178.

• Editorial

  • Anderson F. . The Gotham Center for New York City History 2021.

• Online Publication

  • Anderson F, Martin G. . Huxley Parlour, 2022. Available at: .

• Reviews

  • Anderson F. . CAA Reviews 2024.
  • Anderson F. . Oxford Art Journal 2015, 38(3), 448-451.
  • Anderson F. . Contemporary Theatre Review 2014, 24(1), 116-117.
  • Anderson F. eds. Lynne Cooke and Douglas Crimp, with Kristen Poor, Mixed Use Manhattan: Photography and Related Practices, 1970s to the Present (Cambridge, MA: MIT Press, 2010). Immediations 2011, 2(4).
  • Anderson F. Paul Thek: Diver, a Retrospective at the Whitney Museum of American Art. The Burlington Magazine 2010, 153(1294).
  • Anderson F. Sue-Ellen Case, Feminist and Queer Performance: Critical Strategies (Houndsmill: Palgrave Macmillan, 2009). Contemporary Theatre Review 2009, 19(3).