Dr Karen Di Franco is Programme Leader of M.LItt Curatorial Practice (Contemporary Art) at the School of Fine Art. Her work frequently intersects with lesser-discussed artistic practices and histories — described through materials that complicate notions of archive, ephemera and the art collection. As such, her public projects often involve event and process-based forms with an emphasis on text and publishing. She has written and spoken on feminist archival methodologies, enacted in research and practice, which have developed through her background in digital archiving.

Her educational background includes a BA (Hons) in Fine Art from the University of the West of England, an MA in Contemporary Art Theory from Goldsmiths, University of London and her AHRC funded PhD research thesis Embodied Iteration: Materialising the Language of Writing and Performance in Women Artists’ Publishing, 1968–1979, was a Collaborative Doctoral Partnership based between the University of Reading and Tate Britain.

She has taught across the fields of art practice, art history and writing, working with educational institutions such as the RCA, Goldsmiths, University of Reading and Leeds University. As an archivist and curator she has worked for public organisations such as Spike Island, the Contemporary Art Society and Book Works. Di Franco is currently Programme Curator at Chelsea Space, Chelsea College of Arts, UAL.

Research

Recent conferences and presentations include the paper, “ [..] a good lesson in accepting a duet for what it is”’ as part of the panel ‘Showing the Work: Feminist archival practice and exhibition’ in ‘Women in Revolt: Radical Acts, Contemporary Resonances at Tate Britain, organised by CREAM, University of Westminster and Tate Britain. Di Franco devised and co-convened the panel ‘Reproduction! Networks of Distribution in Archives and Collections of Publishing’, as part of the Annual Association of Art History Conference and invited to presented at the workshop, British Artists' Magazines Into History, at Beam, Nottingham, organised and supported by British Art Studies, Paul Mellon Centre. Other presentations include the panel, Radical Forms in Printed Matter at the Paris Ass Book Fair, at Palais de Tokyo, Paris; the online panel event Relics, hosted by FACT, Liverpool and the panel ‘How to do things with an archive’ for the EASTdiscourses series of events at Norwich University of Art.
 
She is a member of the Curating and Exhibitions research cluster at GSA and is involved in the research group Feminist Histories of the Future, which recently convened at the Henry Moore Institute, Leeds and Calendar House, Falkirk.