In this sectionDPhil Programme DPhil Funding Applying to Study for a DPhil DPhil Affiliated Colleges
DownloadsRuskin PG Admissions FAQs DPhil Handbook 2023-24
The Ruskin DPhil programme includes two strands: the practice-led DPhil (which includes a substantial written component) and the contemporary art history and theory DPhil (by written thesis only).
courtesy Damian Taylor
Jaimini Patel, An Inventory of Small Acts, 2018 / The Artist
Tombs of Thought II / Brook Andrew
In the case of the contemporary art history and theory DPhil, the Ruskin can offer supervision across a wide range of research projects. These may include aspects of exhibition curating and organisation, as well as the historiography of twentieth-century art and the theorisation of contemporary artistic practices. In the case of the practice-led DPhil, studio work will be undertaken as a central component of the registered research programme, and will be presented in relation to the argument of a written thesis that engages with the relevant theoretical, historical, or critical context.
The two strands of the DPhil programme are brought into a productive dialogue, both in a structured way at the weekly research seminar and informally in the studios. For an indication of the range of practical, historical and theoretical topics that are addressed in the School, please have a look at the programme of the Ruskin research seminars, which take place every term.
The Ruskin School of Art provides an exceptional research environment that enables artists, art historians and art theorists to work closely together in a world-leading, research-intensive university.
Its intimate size and its dedication to contemporary art practice and theory within a stimulating and dynamic interdisciplinary structure allows it to sustain close relations with other academic departments and faculties, distinguishing it from other, larger art schools, and allowing for a wide range of interdisciplinary and collaborative work at DPhil level.
Applicants would normally be expected to have completed, or to be about to complete, a Master’s course or equivalent, either in Fine Art or in a theoretical discipline related to the research project. It is worth noting, however, that both the practice-led and the history/theory DPhil are demanding academic degrees that presuppose a high level of academic ability.
For enquiries relating to the admissions process, please contact the Ruskin’s Graduate Studies Administrator via email at: email@example.com
Full details on the DPhil programme and requirements for admission specific to the Ruskin DPhil can be found on: http://www.ox.ac.uk/admissions/graduate/courses/dphil-fine-art
The Ruskin offers the possibility to pursue a DPhil on a part-time basis. In assessing applications from candidates seeking to undertake a research degree through part-time study, the Committee shall have regard to evidence that: (i) the candidate is suitable to undertake research at doctoral level; (ii) the candidate’s personal and professional circumstances are such that it is both practicable for him or her to fulfil the requirements of the course, and necessary for him or her to study on a part-time basis; (iii) if appropriate, the candidate has the written support of their present employer for their proposed course of study and its obligations; (iv) the candidate’s proposed topic of research is suitable for part-time study; (v) the candidate can meet the attendance requirements relating to part-time study.
Part-time students are required to attend for a minimum of thirty days of university-based work each year, to be arranged with the agreement of their supervisor, for the period that their names remain on the Register of Graduate Students unless individually dispensed by the committee.
Supervisors will normally require that attendance takes place during full-term rather than over the vacations so that students can benefit from seminars, lectures and the research activity of the School. All students, full-time or part-time, are required to attend the ‘research methodology’ seminar, which takes place every Michaelmas Term.
In addition, you may like to consult the DPhil Handbook, which gives further details on the structure of the course, supervisions arrangements, staff research interests, ongoing research projects, facilities etc.
Visiting doctoral students
- Please note that we do not offer the possibility of a visiting or exchange period of study for PhD students currently enrolled in another University.
Previous DPhil students and their research topics
Chay Allen Experience, Chance And Change: Allan Kaprow And The Tension Between Art And Life, 1948-1976 
Brook Andrew GABAN: ngarranga-birdyulang dhadharra ngawal murrungamirra (STRANGE: after-scar acting/post-traumatic theatre & powerful objects) 
Helen Benigson Fattened Flattened Tongue Ties: Performing Maternality Online and Offline 
Nicola Brandt Emerging Landscapes: Memory, Trauma and its Afterimage in Post-Apartheid Namibia and South Africa 
Clare Carolin The Deployment of Art: The Imperial War Museum's Artistic Records Committee 1968-1982 
Beatrice Cartwright Feminist Impolitics: Time, Pleasure and Labour in Art 1989-2000 
Sabrina Chou Constitutions 
Shwanda Corbett Feminist Impolitics: Time, Pleasure and Labour in Art 1989-2000 
Diego de las Heras Pardo ATLAS OF THE HOLE/ HOUSE OF DEMENTIA: The Escutcheon, The Hearth, and The Floor-cloth as motifs for dwelling and storytelling 
Jessica Draper Being White Part I: A Self-portrait in the Third Person; Being White Part II: Whiteness in South African Visual Culture 
Yuval Etgar The Ends of Collage 
Hilary Floe The Museum Of Modern Art, Oxford, (1965-1982): Exhibitions, Spectatorship and Social Change 
Patrick Goddard Shit House to Penthouse: An autoethnographic investigation into the interface between artists and East London 
Una Henry The Politics of Knowledge That Leads Elsewhere 
Jessyca Hutchens A Gift of Time: The Contemporary Artist-in-Residency Programme 
Sohin Hwang Vitality of Systems 
Hannah Jones The Oweds 
Natasha Kidd The undoing of an object: communicating the complexities of making an artwork 
Minae Kim The Afterlife of Site-specific Sculpture: A Self-referential Study through Practice 
Jinjoon Lee Empty Garden : A Liminoid Journey to Nowhere in Somewhere 
Mariah Lookman Looking to Draw: Picturing the Molecular Body in Art and Science 
Vichaya Mukdamanee (De)contextualising Buddhist Aesthetics 
Saul Nelson Going on From Picasso? Late Modernism and the Dynamics of History 
Chelsea Nichols Human Curiosities in Contemporary Art and Their Relationship to the History of Exhibiting Monstrous Bodies 
Joseph Noonan-Ganley The Contagion of Desire: Two Case Studies of Appropriation Art 
Kirsten Norrie Cloth, Cull and Cocktail; Anatomizing the Performer Body of 'Alba' 
Tamarin Norwood Drawing: The Point Of Contact 
Charles Ogilvie Outsider Cosmologies and Studio Practice 
Francis Oktech Art and Conversation: Disturbation in Public Space 
Jaimini Patel Modes Of Presence In The Contemporary Sculptural Encounter 
Anita Paz Against Indexicality: Photography as a Formation of Thought 
Simon Pope Who else takes part? Admitting the more-than-human into participatory art 
Robert Rapoport The Iterative Frame: Algorithmic Video Editing, Participant Observation & The Black Box 
Vid Simoniti The Epistemic Value of Contemporary Art 
Flora Skivington Tacita Dean's Representation Of Time In The British Rural Landscape 
Eiko Soga Felt Knowledge: Ecologising Art and Samani Ainu Cooking 
Arturo Soto Gutierrez Affective Vision: Urban Landscape Photographs and their Paratexts 
Inbal Strauss Form Unfollows Function: Subversions of Functionality 
Babar Suleman (I) LOVE (DICK) ISLAND: The Lifeworld of KhudiMagic 
Brandon Taylor After Constructivism 
Damian Taylor 'Busy Working with Materials' Transposing Form, Re-exposing Medardo Rosso 
Christian Thompson Creative Responses to Australian Material Culture in the Pitt Rivers Museum Collection: Parallels between 'We Bury Our Own' and 'Mining The Museum' 
Oraib Toukan Two Seconds, One Frame: On the Afterlife of Cruel Images 
Naomi Vogt Inventing Ritual: Moving Images of Social Reality in Contemporary Art 
Jason Waite Michi no Oku/The End of the Land: Contemporary Art in Japan and the Catastrophic Condition 
Nina Wakeford NOW, SAY THIS, NOW: the re-amplification of political energies 
Ruobing Wang Green Instruments: A Critical Evaluation Of Environmental Concerns In Contemporary Chinese Art 
Curtis Winter The Recollections: The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) 
Farniyaz Zaker Allegories of the Veil