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Sarah Wilson is an art historian and curator whose interests extend from postwar and Cold War Europe and the USSR to contemporary global art. She was educated at the University of Oxford (English Literature) and at The Courtauld where she took her MA and Ph.D degrees. In 1997 she was made Chevalier des Arts et des Lettres by the French Government for services to French art and culture. In 2008 she was a presidential candidate for the International Association of Art Critics (AICA). She holds a chair d’excellence at the Université de Versailles-Saint Quentin for the years 2012 and 2013<br>
Courtauld, History of Art, Art History, Institute, Art, Coultard, Courtard, Courthauld, Gallery, history, study, art, students, courses, research, degree, Museum, galleries, fine art, Paris, Professor Sarah Wilson, Courtauld Institute of Art, Pip Culbert, Picasso Marx, French Theory, Jean Fautrier, Willi Münzenberg, Socialist Realism, Henry-Claude Cousseau, Lucia Joyce, Tilly Losch, Adrien Sina, Presses du Réel, Moscow Romantic exceptionalism, Moscow Conceptualism, Boris Groys, Ruth Francken, Chantal Pontbriand, Alina Szapocznikow, William Blake, Surrealist Women, Gaston Chaissac, Venice Biennale, Lucio Fanti, Tadeusz Kantor, Raymond Mason, Natalie Adamson, Ecole de Paris, Jill Carrick, Nouveau Réalisme, The Visual World of French Theory Figurations, Yale University Press, Alexander Ponomarev, Calvert 22, Orlan, Louis Aragon, Nadia Khodossievitch Léger, Fernand Léger, Alexander de Cadenet, Gabriel Dubois, Henri Matisse, Centre Georges Pompidou, Yves Klein, Alberto Giacometti, Antonin Artaud, La Casa Encendida, Francis Gruber, Valentine de Saint Point, Gérard Fromanger, Giles Deleuze, Francis Bacon, Raphaël Cuir, Cold War art, Victoria and Albert Museum, Traces du Sacré, MNAM, Bruno Foucart, Niki de Saint Phalle, Tate Liverpool, Tate Modern, Narrative Figuration, Grand Palais, The Burlington Magazine, Lucien Fleury, Malassis, Musée des Beaux-Arts Dole, Le Corbusier, chapelle Notre-Dame du Haut, Ronchamp, Pierre Klossowski, Éditions Gallimard, Beaubourg la Trentaine, Oleg Kulik, Andrzej Wrona, Galerie Kamila Regent, Saignon, Whitechapel Art Gallery, Hatje Cantz, Germaine Richier, Éditions Somogy, Boris Taslitzky, Musée d’Art et d’Histoire du Judaisme, Sobranie, Liliane Lijn, Austin Desmond Fine Art, Poststructuralism, Amelia Jones, Myriam Bat–Yosef, Éditions Somogy, Archives de la Critique d’Art, Archaeology of Desire, T1+2 artspace, Zofia Kulik, Jochen Gerz, Evelyne Axell, Pop Art, Erro, Galerie Louis Carré, Joan Miro, Maurice Blanchot, Bernard Rancillac, Nicholas Hewitt, Michel Journiac, Paris Capital of the Arts, Royal Academy of Arts, Guggenheim Bilbao, Libero Nardone, Assia, Dina Vierny, Franko B, Black Dog Publishing, Marcel Duchamp, fémininmasculin, Supports/Surfaces, Galeries National du Jeu de Paume, La Mazarine, Tragédies charnelles, Éditions Jean-Michel Place, Michel Foucault, Duncan Phillips, Robert Sainsbury, Reem Nazir, Jean-François Lyotard, Jacques Monory, Germaine Richier, Edouard Pignon, Jennifer Pery, Marlow Moss, Paule Vezelay, Marie-Anne Lansiaux, Rembrandt, Jean Genet, Jacques Derrida, Magazyn Sztuki, Solomon Guggenheim Museum, Face à l’histoire, L’Histoire d’O, Kurt Schwitters , Roland Barthes, Jean Baudrillard, Arman, Pierre Buraglio, Parallel Visions, Gabriel Fournier, André Fougeron, Max Ernst, William Gear, Hans Richter, Birmingham City Art Gallery, Dorothea Tanning, André Masson, Francis Picabia, Zabriskie Gallery, Jean Hélion, Charles Lapicque, Whitechapel Art Gallery, Ivon Hitchens, International Surrealism, Stephen Gilbert, La Planète Affolée, Raoul Dufy, Emile Male, Paule Vézelay, Barbican Art Gallery, Graham Sutherland, Oxford Art Journal<br>
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