Westminster School of Arts

Groves, Andrew 2022. Painted sheepskin coat, A/W1999. Garden Museum 16 Mar - 19 Jun 2022

Barnwell, J. 2022. Bond at 60 Conference paper. Cinematic Bond at 60: National and International Perspectives. Bounemouth University (online) 04 Mar 2022 Bournemouth University.

Squires, K. 2022. Masked Man Eats Alphabetti Spaghetti. Trade's Hall, Walthamstow, London 24 Feb 2002

Orlow, U. 2022. Tori Bari (After Yellow).

Ingawanij, M.A. 2022. Animistic Apparatus screening programme at Yebisu International Festival for Art & Alternative Visions. Berwick Film and Media Arts Festival 19 - 22 Sep 2019

Kempadoo, Roshini 2022. Like Gold Dust (2019) (selection) in the exhibition Intersectional Geographies. Bristol 27 Jan - 03 Apr 2022

Campbell, A. 2022. Crap Publication – Issue 1: White Socks. PARC London.

Katerina Cizek, William Uricchio, Juanita Anderson, Maria Agui Carter, Detroit Narrative Agency, Thomas Allen Harris, Maori Karmael Holmes, Richard Lachman, Louis Massiah, Cara Mertes, Sara Rafsky, Michèle Stephenson, Amelia Winger-Bearskin and Sarah Wolozin 2022. Collective Wisdom: Co-Creating Media for Equity and Justice. MIT Press.

Jane Barnwell 2022. The Hero’s Journey: The Quest for Home in Paddington 2 (2017, Dir. Paul King, PD Gary Williamson). in: Production Design & the Cinematic Home Springer Nature. pp. 151-170

Jane Barnwell 2022. Finding Your Way Through the Maze: Navigating the Public and Private Spaces of Downing Street in Darkest Hour (2017 Joe Wright, PD Sarah Greenwood). in: Production Design & the Cinematic Home Springer Nature. pp. 129-150

Jane Barnwell 2022. Secret Homes: How Are the Themes of Espionage Reflected in the Construction of Home in Tinker Tailor Soldier Spy (2011, Tomas Alfredson, PD Maria Djurkovic)? in: Production Design & the Cinematic Home Springer Nature. pp. 111-128

Jane Barnwell 2022. Bridget Jones’s Diary (2001, Sharon Maguire, PD Gemma Jackson): A Wild Unconventional Space Bursting with Potential. in: Production Design & the Cinematic Home Springer Nature. pp. 89-110

Jane Barnwell 2022. Returning Home: How the Byers’ Home in Stranger Things (2016—Duffer Brothers, PD Chris Trujillo) Reflects Narrative and Character Interior Landscape. in: Production Design & the Cinematic Home Springer Nature. pp. 67-87

Jane Barnwell 2022. Vertical Hierarchy and the Home in Parasite (2019, Dir. Bong Joon Ho, PD Lee Ha-Jun). in: Production Design & the Cinematic Home Springer Nature. pp. 23-44

Jane Barnwell 2022. Racial Prejudice, the Ghosts of Colonialism and Spatial Segregation in Get Out (2017, Jordan Peele, PD Rusty Smith). in: Production Design & the Cinematic Home Springer Nature. pp. 45-65

Gemma Padley and Mitra Tabrizian 2022. Interview: Mitra Tabrizian and the art of realism. RPS Journal.

Tabrizian, M. 2022. The Silence of Numbers. in: Collage: Women of Prix Pictet since 2008 Gestalten.

Barnwell, J. 2022. 'Invisible Design. Invention and Emotion in The Crown'. TV Londons: Exploring Representations of London on Television Conference. University of Westminster, London 28 - 29 Jul 2022

Orlow, U. 2022. Flora Peruana. Kunst Bulletin.

Orlow, U. 2022. Reading Wood (Backwards). https://doi.org/10.4472/9783035807141

Orlow, U. 2022. Forest Essentials Take Two (Bobé).

Kispert, M. 2022. Solidarity, not Charity: mutual aid during Covid-19. IIPPE 2022 Annual Conference. Università di Bologna, Italy 07 - 09 Sep 2022

Kispert, M. 2022. Activist video and the politics of art: working with labour rights activists. Radical Film Network 2022 (Un)conference. Genoa, Italy 13 - 17 Jun 2022

Pucill, S. 2022. “Eruption, rupture, suture and disruption” A text by Sarah Pucill on two films by Sandra Lahire, “Arrows “(1984) and “Night dances” (1995). in: Maria Palacios Cruz and Charlotte Proctor (ed.) ‘Cahier’ booklet to accompany a screening at Courtisane Film Festival, April/May 2021

Harrison, L. 2022. Creating Interactive Sound. Lighthouse (ed.) Women in Music: Arte Sônica Amplificada. Online across Brazil Apr 2022

Peters, T. 2022. Doing it Together! Public participation and performance within contemporary clay practice. Claytalks. Lecture Theatre, Central Saint Martins, London N1C 4AA 08 Apr 2022

Hermes, K. 2022. 8-bit Music on Twitch: How the Chiptune Scene Thrived During the Pandemic. Dancecult: Journal of Electronic Dance Music Culture. 14 (1). https://doi.org/10.12801/1947-5403.2022.14.01.07

Marsh, Julie 2022. Assembly: Investigating the Role That Artist Fieldwork Can Play in Islamic Sites of Worship. Architecture and Culture. 10 (4), pp. 753-770. https://doi.org/10.1080/20507828.2024.2336325

Gortazar, P. 2022. Plastic Borders: On the Photographic Frame and its Virtual Experience. International Conference of Photography and Theory: Expanded Visualities . Nocosia, Cyprus 17 - 18 Nov 2022

Moore, D. 2022. Pictures from the Real World. The Whitworth, Manchester. 25 Nov 2021 - 26 Feb 2023

Moore, D. 2022. 'Civilisation' The Saatchi Gallery, London, and others.

David Bate 2022. Return of the Tableau. in: Photography After Postmodernism: Barthes, Stieglitz and the Art of Memory Routledge.

David Bate 2022. The Photographic Episteme. in: Photography After Postmodernism: Barthes, Stieglitz and the Art of Memory Routledge.

David Bate 2022. After Postmodernism? in: Photography After Postmodernism: Barthes, Stieglitz and the Art of Memory Routledge.

David Bate 2022. The Archival Dream. in: Photography After Postmodernism: Barthes, Stieglitz and the Art of Memory Routledge.

David Bate 2022. Alfred Stieglitz and the Migration of Meaning. in: Photography After Postmodernism: Barthes, Stieglitz and the Art of Memory Routledge.

David Bate 2022. Roland Barthes and Camera Lucida. in: Photography after Postmodernism: Barthes, Stieglitz and the Art of Memory Routledge.

Houlton, L. 2022. Vision Machines, Peggy Ahwesh, curated by Robert Leckie and Erika Balsom. Moving Image Review & Art Journal . 11 (1), pp. 128-133. https://doi.org/10.1386/miraj_00088_5

Peters, T. 2022. Look Who's Talking.

Klewitz, R. 2022. CV listing the full chronology of video art dissemination.