Pam Skelton is an artist, researcher, yoga practitioner and teacher living and working in London. Studied on the Foundation Course at Southport School of Art (1967-69) and painting at Camberwell College of Art (1969-72) and the Design Course of the English National Opera (1974-1975). Taught at Central Saint Martins in Fine Art on the BA Fine Art Course and Reader in Fine Art till 2014, continuing at CSM as an Associate Lecturer in Research supervising PhD students.
2016: Currently researching Censored a new project in collaboration with curator Iliyana Nedkova and Nick Bone, Artistic Direction of the theatre company Magnetic North.
| Selected Exhibitions | |
| 2014 | Conspiracy Dwellings Artists Pages in Vol 34 Lessons from History N. Paradoxa International Feminist Art Journal |
| 2013 | Hotel Minerva, in the Beijing Academy Film Triennially |
| 2013 | Pam Skelton, ‘In the Event of Snow’ video installation, in Cartographies of Life and Death: John Snow & Disease Mapping, London School of Hygiene & Tropical Medicine, London |
| 2012 | Pam Skelton in Off the S[h]elf: the Self and Subjectivity in the artists book, Stockwell Studios, London |
| 2012 | Screening, Conspiracy Dwellings in The Conversation and Surveillance, Passenger Films, Urban Lab, London |
| 2011 | Pam Skelton, Hotel Minerva, video installation, in Archive of Exile, Bank Street Gallery, Sheffield. |
| 2011 | Pam Skelton, Rosa, a window installation, at Goodens Gallery, 24/7, curated by Chris Meigh-Andrews Vyner Street, London |
| 2010 | Pam Skelton, Dangerous Places: Ponar, screenings in Surviving History Exhibition South Africa Tour 2010 curated by Dr Shivaun Woolfson and Frances Tay in Holocaust Centres in Cape Town, Durban and Johannesburg, South Africa |
| What’s the Difference! Chromosome works by Pam Skelton, Mirror Gallery, South Hill Park Arts Centre, Bracknell, UK | |
| 2009 | Pam Skelton: Dwelling in the Space of Conspiracy, Institute of Contemporary Interdisciplinary Art, University of Bath. UK |
| Dwelling in the Space of Conspiracy in ISEA09, Ormeau Baths Gallery, Belfast, N. Ireland | |
| 2008 | Pam Skelton, Ghost Town, Wisconsin Jewish Film Festival, Madison, U.S.A. |
| Pam Skelton, In the Space of Conspiracy, Tallinn City Art Gallery, Tallinn, Estonia | |
| The Art of Birmingham 1940 – 2008, Birmingham City Art Gallery | |
| 2007/8 | Conspiracy Dwellings, South Hill Park, Bracknell, UK |
| 2007 | Pam Skelton, Burning Poems, 2nd Moscow Biennale |
| Conspiracy Dwellings // Konspirative Wohnungen: Erfurt, Germany | |
| Pam Skelton, Burning Poems, Sochi Art Museum, Sochi, Russia | |
| 2006 | Galerie L’Ollave, Preoccupations, l’ARTBORETUM, Argenton-sur-Creuse, France |
| 2005 | Man (The Flaming Sideboards) Aine Art Museum, Tornio, Finland |
| Death is Part of the Process, Void Gallery, Derry, N. Ireland | |
| Pam Skelton, Burning Poems, site specific video installations at the Anna Akhmatova Museum, St. Petersburg, Russia. | |
| 2004 | Strangers to Ourselves, 201 St John Street, London. |
| Unframed, Standpoint Gallery, London. | |
| Something Strange: Aine Art Museum, Tornio, Finland. | |
| Self ish: Sicult, London and the Royal Albert Memorial Museum, Exeter. | |
| 2003 | Strangers to Ourselves: Hastings Museum and Art Gallery and in locations throughout the S.E. of England. |
| 2002 | Perceptions, Museum of Modern Art, Dubrovnick, Croatia. |
| Hygiene, The Art of Public Health, London School of Hygiene & Tropical Medicine | |
| Ghost Town, (2 screenings) Translating Class, Altering Hospitality, Congress CATH, University of Leeds. | |
| 2001 | Pamela Hurwitz and her Friends, exhibition of new paintings, Birmingham Institute of Art and Design, Birmingham. Institute of Art and Design Birmingham |
| Pam Skelton, Liquidators 2, Gallery Katva, Rovaniemi, Finland. | |
| New Permanent Collection, The Centre of Attention, London. | |
| Mute Loops a Filmwaves commission 2001 Lux Centre, London. | |
| Pam Skelton, Ghost Town, Brno House of Culture, Brno, Czech Republic. | |
| 1999 | Private Views, Institute of Contemporary Art Dunaujvarov Hungary. |
| Sale or Return, Fruitmarket Gallery, Glasgow. | |
| Private Views, Co- Curated with Mare Tralla, Art Museum of Estonia, Tallinn. | |
| VideoMedeja, Third International Video Summit Novi Sad, Serbia. | |
| 1997 | Virtual Vulgarity– International Biennale of the Feminist Art and Histories Conference, Reading University. |
| 1996 | The Leading Edge’ The London Institute Gallery, London. |
| Pandaemonium – The Digital Lab, Institute of Contemporary Art, London. | |
| The Unthinkable is the Unknowable – Ten Years after Chernobyl, Camerawork, London. | |
| Kunstler forchen nach Auschwitz, Neue Gesellschaft fur Bildende Kunst, Berlin, Germany. | |
| Art ’96, Letherby Gallery, Central Saint Martins, London. | |
| 1995 | After Auschwitz – Installations’ Imperial War Museum, London. Pam Skelton, Dangerous Places – Ponar City Art Gallery Leeds. Pam Skelton Dangerous Places – Ponar Gallery 101 Ottawa, Canada. William Geer, Friends past and present – Birmingham City Art Gallery. |
| 1994/5 | Pam Skelton, Dangerous Places – Ponar 7 channel video installation and ‘The X Mark of Dora Newman painting installation, Ferens Art Gallery, Hull. |
| 1993 | Collaboration with dancer Rosemary Lee and ‘Threads’ Exhibition of paintings at Chisenhale Dance Space, London. |
| 1992 | Pam Skelton, As Private As the Law, Galerie L’Ollave, Lyon France. |
| Somatic States, The Quicksilver Gallery, Middlesex University and The Norwich Gallery, Norwich. | |
| 1991 | As Private As the Law, Galerie L’Ollave, Lyon France. |
| Critical Practices, Bridge Gallery, Central Saint Martins College London. | |
| Amnesty International Art Exhibition, Lanchester Gallery, Coventry. Borderlands, Autonomous Cultural Centre, Weimar, Germany. |
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| 1990 | London Art ’90, Design Centre, London. |
| Central Saint Martins 7th Floor Gallery. Sommerr Atelier, Hannover, Germany. Gas Hall Exhibition, Birmingham Art Trust. Birmingham. |
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| 1989/90 | Pam Skelton, Groundplans, Ikon Gallery, Birmingham. |
| Paintings, Long and Ryle Gallery, London | |
| Work from the Birmingham Studios, Lanchester Gallery, Coventry. 6 Artists from the Benjamin Rhodes Gallery, Richard Demarco Gallery, Edinburgh. Pam Skelton, Benjamin Rhodes Gallery, London |
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| Artist in Residence, Birmingham Museum and Art Gallery | |
| 1988 | David Mabb, Pam Skelton, Bluecoat Gallery, Liverpool |
| Grace Erickson, Pam Skelton, Southampton City Art Gallery Large Paintings, Benjamin Rhodes Gallery, London |
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| Women and Water, group show, Odette Gilbert Gallery, London | |
| 1987 | Pam Skelton, Peintures, Gallery L’Ollave, Lyon, France Works on Paper, Benjamin Rhodes Gallery, London Athena Art Exhibition,(Shortlisted artist and prizewinner) Barbican Centre, London The Day Book, large group show, Smiths Gallery, Touring. |
| L’Ollave in Birmingham, Midlands Arts Centre, Birmingham | |
| 1986 | Pam Skelton, Paintings and Works on Paper, Benjamin Rhodes Gallery, London |
| 1985 | Kate Blacker (Photos) and Pam Skelton (Peinture) Maison des Expositions de Genas, France Reflections, Sonja Boyce, Pam Skelton, Kate Whiteford, Riverside Studios, London |
| Paradise Lost, Jacqueline Morreau and Pam Skelton, Ikon Gallery, Touring Exhibition. | |
| Awards | |
| 2012 | Wellcome Grant and Arts Council Lottery Funded, for Cartographies of Life and Death |
| 2009-11 | AHRC Speculative Grant, Commission for the project Archive of Exile in collaboration with Jessica Dubow |
| 2007 | Kulturstiftung des Bund, Germany, Exhibition Grant for Conspiracy Dwellings |
| 2007 | Arts Council Lottery Funded Grant |
| 2007 | Sabbatical, University of the Arts, London |
| 2006 | AHRC, Award, Conspiracy Dwellings exhibition project, Germany |
| 2004-2005 | British Council Russia, for Burning Poems, St Petersburg |
| 2002 | Institute Francais Award for Perception, Dubrovnik |
| 2001 | British Council Exhibition Award |
| Calouste Gulbenkian Award | |
| Wellcome Trust Award | |
| 1998 | Arts Council of England Award |
| British Council, Exhibitions Award | |
| 1996 | British Council, Exhibitions Award |
| 1995 | Major Sabbatical Award, Rootstein, Hopkins Foundation |
| 1994 | Arts Council of Great Britain Exhibitions Award |
| 1991 | Birmingham City Council, Travel Grant |
| 1989 | West Midlands Arts Award |
| 1987 | City of Birmingham Fine Art Award |
| Finalist in the Athena Art Awards | |
| 1983 | West Midlands Arts Award |
| 1972 | Lord Caron Award in Painting |
| Authored publications | |
| 2010 | Pam Skelton, Journal Article, Antagonistic Dwellings: Surveillance in Stasi Germany, An Art Project in Special Number, Cityscapes of the German Democratic Republic, ed. Renate Rechtien, in German Life and Letters Volume LXIII No. 4. October 2010. (Wiley-Blackwell), pp 458-474. |
| 2010 | Conspiracy Dwellings: Surveillance in Contemporary Art, ed. Outi Remes Pam Skelton. (Cambridge Scholars Publishing (CSP) |
| 2006 | Pam Skelton, ‘Conspiracy Dwellings, there Potential as Counter Monuments’ a chapter in Geheime Trefforte des MFS in Erfurt, (Secret Meeting Places in Erfurt), Eds. Best, H, Heinrich J, Mestrup H. (Landesbeauftragten des Freistaates Thuringen fur die Unterlagen des Staassicherheitsdienstes der ehemaligen DDR) pp 107 – 113, 2006 |
| 2004 | Pam Skelton, ‘Restretching the Canvas’ chapter in Unframed, Practices & Politics of Women’s Contemporary Painting, Ed. Rosemary Betterton, IB Tauris, London, New York, 2004 |
| 2003 | Coxall H, Skelton, P, Fletcher T, Article: ‘Hygiene: The Art of Public Health’ The Journal of Visual Culture Vol, Sage Publications, April 2003, pp133-50 |
| 2001 | Pam Skelton, ed Foreign Bodies 2001, catalogue, site specific artworks by students from Central Saint Martins College of Art & Design Central Saint Martins College of Art & Design/London School of Hygiene & Tropical Medicine |
| Pam Skelton, Pamela Hurwitz and her friend’s exhibition catalogue and essay Ed. Swift, J, ARTicle Press, Birmingham | |
| 2000 | Pam Skelton introduction, ‘shifting subjects – beyond the east-west divide’ Ed.. Dimitrakaki, A, Skelton, P, Tralla, M Private Views – spaces and gender in contemporary art from Britain and Estonia pp10-17 (WAL/IB Tauris 2000). |
| 1999 | Pam Skelton, Art Practice, pp 67 -78 in Disciplines, Fields and Change in Art Education, Volume 1 Art Education and Art Practice, Swift J. & Swift. J. Eds (ARTicle Press 1999) |
| Pam Skelton, ‘Questions of Identities’ next Cyberfeminist International Ed. Cornelia Solfrank, (obn. Hamburg) 1999 pp32-35 | |
| 1996 | Pam Skelton, ‘Pusca Vodica’, numero 5 Preoccupations (Association Galerie Libraire l’Ollave) Lyon, France 1996, p.5. |
| Pam Skelton, Tchernobyl, 26 avril 1986, Fiction & réalité, (traduit de l’anglais par Catherine Gauffaux) pp 21 – 24, and Les Liquidateurs, (traduit de l’anglais par Bernard Hoepffner) in Tchernobly, Banquet D’Anniversaire, Agon, numero 15, (Agon E &Titanic), Marseille,1996. pp 45 – 52 | |
| 1994 | Pam Skelton, Dangerous Places, numero 3, Preoccupations Association Galerie Librairie l’Ollave, Lyon, France 1994. pp. 1 – 8. |
| 1986 | Women Artists Speak, Pam Skelton, FAN, Vol Two No.4. Pam Skelton |
| Article, Pam Skelton, Women in Art Education, Circa January/February, 1986. | |
| Review, Claire Peillod, Les Deux Anglaises, Lyon Poche, 12-18 March, 1986 | |
| Pauline Barry, Pam Skelton, Exhibition, Women Artists Slide Library News, August Edition 1986 | |
| 1985 | Pam Skelton Women in Art Education, NATFHE Journal May/June 1985 |
| Work sited in selected books, reviews and articles | |
| 2012 | Caterina Albana, Fear and Art in the Contemporary World pp.179-80, (Reaktion Books, 2012) |
| 2011 | Angela Dimitrakaki,Τέχνη και Παγκοσμιοποίηση [Art and Globalisation], Hestia (2011, language: Greek). |
| 2008 | Mark Haworth Booth ‘Conspiracy Dwellings’ Aperture, pp.84-85 |
| 2008 | Konspirative Wohnungen’, Kunstforum International, Jan – Feb 2008, p.436 |
| 2008 | Ants Juske, ‘Briti Kunstniki Pam Skeltoni nätuse materjal pärineb Stasi ahriividest’, Eesti Paevaleht, 3 Oct 2008, Estonia |
| 2007 | Elena Zaitseva, ‘Burning Poems’, 2nd Moscow Biennale of contemporary art, special Projects, pp. 78-81 |
| 2007 | Article, Liane von Billerbeck, Places for Informers, Die Zeit Nr 46 P.56 Feuilleton |
| 2007 | Exhibition Catalogue, Konspirative Wohnungen// Conspiracy Dwellings, ed. Verena Kyselka, Jorge Schindler, Kunsthaus Erfurt 2007 |
| 2006 | Rachel Garfield, Towards a Re-Articulation of Cultural Identity, Third Text, Vol 20 n.1/Jan 2006 |
| 2005 | Ingeborg Reichle, Kunst Aus Dem Labor, Springer Wien New York, 2005. pp.39, 40, 210 – 13 |
| 2005 | Angela Dimitrakaki, ‘History, Theatre and Video Art: Pam Skelton’s Burning Poems’ (in English and Russian) in the exhibition catalogue Burning Poems, St Petersburg, Anna Akhmatova Museum, 2005. Commissioned by the British Council. Exhibition catalogue. |
| 2005 | Rebekka Kill, Unframed, Practices & Politics of Women’s Contemporary Painting in The Art Book, Vol 12. Issue 2, 2005, pp. 33 – 34 |
| 2004 | Ingeborg Reichle, ‘Visionen vom Neuen Menschen?’ Kunst im Zeitalter der Gen-und Reproduktionsmedizin pp. 117 – 129 in Ins Machbare entrenzen, Utopien und alternative Lebensentwürfe von Frauen. Ed. Kirsten Beuth, Annette Dorgerloh, Ullrike Müller, Centauris Verlag, Herbolzheim, 2004. |
| 2004 | Angela Dimitrakaki, ‘Femininity and Utopia in Women’s Film and Video’ in Medien Der Kunst: Geschlecht, Metapher, Code, ed. Susanne von Falkenhausen, Silke Forschler et al. Jonas-Verlag, Germany. |
| 2002 | S. Seferovic, ‘Uz medunarodni zlozbeni project “Opazanje”’ Broj 26684 6. June, Dubrovnik, Croatia ‘Sto znaci vidjeti’? Slobodna Dalmacija, Kultura, Dubrovnik, Croatia Perceptions a Dubrovnik’, Avut, Barcelona, Spain11 July 2002 |
| Ivica Zupan ‘Varljivo Opazanje’, Novi Cist, Zagreb, Croatia 28th July Dodana Vrijednost Percepcije, Anton Maracic, Sridjeda, Zagreb, Coatia, 10 July K.R. Aluzije Na Drustvenu Zbilju, Vjesnik, Zagreb29 June, p.19 Vesna Kusin, ‘Dubrovnik na Kart Izlozbenih Sredista Europe’ Vjesnik. Zagre, Croatia 28 July Andrew Benjamin working notes 9 http:/www.basilisk.com/basilisk2ECRITS2/ab_wn09.html Helen Sumper, Hot Tickets, Evening Standard Supplement 23rd May p.40 |
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| 2001 | Ingeborg Reichle, Kunst und Genetik: Zur Rezeption der Genechnik in der zeitgenössischen Kunst. In: Die Philosophin. Forum für ferministische Theorie und Philosphie, Heft 23, Jg. 12, Turbingen 2001, S. 28-42 Ingeborg Reichle, Kunst im Zeitalter der technischen Reproduzierbarkeit des Menschen: Sur Rezeption der Gentechnik in der zeitgenössischen Kunst. In: Kunst Text, 1/2001, ohne Paginerung (www.kunsttexte.de) Marjaana Niskala ‘Stories of forgotten people’ Kaleva (Finland) 26th Feb 2001 p.15 Kalle Lampela ‘Elements of Destruction’ Lapin Kansa (Finland) 3rd March 2001 p.14 |
| Griselda Pollock ‘Catching and Loosing the Sands of Time…. In the work of Lily Markiewicz’ in Lily Markiewicz Promise (catalogue) LRM London 2001 p.9 | |
| 2000 | Julia Knight ‘Saying Something’ and Catherine Elwes ‘Reviewing Others’ in Catherine Elwes, Video loupe, KT Press, London 2000 p.32 and p.112 |
| 1998 | Angela Dimitrakaki, ‘Painting without Nostalgia: Contextualising the Visions of History in the work of Pam Skelton’, Diatribe University of Southampton Press 1998 pp 43-53 Rosemary Betterton ‘Embodied Perspectives’ ‘Representations of the female body Forum 2 Fruitmarket Gallery 1998 pp 9-10 |
| 1996 | Kunstler Forchen Nach Auschwitz, reviews and radio: SFB Journal in Drei 6.5.96 Barbel Jaschke, Radio Brandenburg 4.5.96, Info Radio Berlin (SF3) 3.5.96. Info Radio Berlin (SF3) 16.5.96. Wochenpost, 9.5.96. Potsdamer Neueste Nachrichen 10.5.96. Der Tagesspiegel, 10.5.96, Der Freitag (Wochenzeitung) 10.5.96. Junge Welt 15/16.5.96, TAZ 22.5.96, Berliner Linke Wochenzitung 21.5.96 |
| 1996 | Angela Dimitrakaki ‘The Unthinkable is the Unknowable, Third Text No 35 Griselda Pollock,’ Dangerous Places – Ponar’ a video installation by Pam Skelton, Third Text No 36, pages 45 – 53 Autumn 1996 Rosemary Betterton, An Intimate Distance: Women, Artists and the Body Routledge, London 1996 pp172-181 |
| 1995 | Monica Bohm – Duchen After Aushwitz, Responses to the Holocaust in Contemporary Art, Southbank Centre Catherine Elwes ‘Dangerous Places – Ponar’, Art Monthly no.185 pp 26-27 Rosemary Betterton ‘The Autobiographical as History’, Womens Art Magazine No 65 pp26 Juliet Steyn ‘After Auschwitz Installations’, Women’s Art Magazine No. 65 pp 2 Jeremy Treglown, The Blitz between Life and Art, Times Literary Supplement March 31st 1995 pp 16 Alan King Dangerous Places, Ponar, , Ottawa Citizen, Canada May Andrew Benjamin ‘In the Place of Danger’, catalogue essay, Ponar Bernard Hoepffner ‘We hear and We Refuse to Believe’, catalogue essay, Dangerous Places – Ponar Pam Skelton (Ferens Art Gallery) |
| 1991 | Bernard Hoepfner, ‘Pam Skelton, As Private as the Law’ , Journal Le Main du Singe, May 1991, Lyon, France. |
| 1989 | Colin Cruise, ‘Pam Skelton, Groundplans,’ Arts Review 15/12/89 Sue Hubbard, ‘Pam Skelton, Groundplans’, 20/20 Magazine December 1989 Terry Grimley, ‘Strong Creative Imput’ Birmingham Post 29th November 1989 |
| 1988 | Max-Wykes-Joyce, Midland Contemporary Art Exhibition, Arts Review, Summer Issue, 1988. Adrian Henry, Review Liverpool Daily Post, 26/11/88 Clare Stracey, Artist at the Heart, International Visitor 1988 |
| 1987 | Tessa Sidey, ‘Artists from Gallerie L’Ollave’, Arts Review 20th November 1987 ‘Painting is a Real Winner’ Birmingham Post 02/87 Gordon Burn, Athena Art Award, Sunday Times, Magazine, 8/2/87. Michel Bout, Totems et Tabous… La Marseillaise 6/8/87 |
| 1986 | Guy Burn, Pam Skelton, Edward Durdey, Arts Review July 1986 Monica Petzal, Pam Skelton, Edward Durdey, Time Out 2/7/86 |