Associate Professor Katrina Sluis

MA Fine Art (UAL), PGCHE (LSBU), BFA (Hons I) (UNSW)
Head of Photography and Media Arts, School of Art & Design
College of Arts and Social Sciences

Areas of expertise

  • Visual Cultures 190104
  • Lens Based Practice 190503
  • Electronic Media Art 190203
  • Museum Studies 210204
  • Curatorial And Related Studies 2102
  • Cultural Studies 2002

Research interests

Katrina Sluis’ research is broadly concerned with the politics and aesthetics of art and photography in computational culture, its social circulation, automation and cultural value. As a curator and educator, for the past decade she has worked with museums and galleries to support digital strategy, digital programming and pedagogy. 

Her present work addresses the emerging paradigms of human - machine curation, as a contemporary response to the massive intensification of global image production and circulation. Funded by the SNSF, the project "Curating Photography in the Networked Image Economy", explores the transit of data analytics and AI imaginaries into the museum on the one hand, and discourses of aesthetic modernism and curating into the computer sciences on the other. A second strand of AHRC funded research explores the role of computational reproduction on the art object - connecting practices of art documentation to emerging discourses of adtech, digital marketing and big data.  

Biography

Katrina is presently Head of Photography & Media Arts in the School of Art & Design where she also co-convenes the Computational Culture Lab

Prior to joining ANU, Katrina was based in London where she was Senior Lecturer and founding Co-Director of the Centre for the Study of the Networked Image (CSNI), London South Bank University. The Centre brought together researchers from cultural studies, software studies, and contemporary art and media practice to develop knowledge and understanding of how network culture transforms the production and circulation of images. With an emphasis on artistic and practice-based research, the Centre addressed the separation of cultural policy, practice and theory through collaborative research partnerships with Rhizome, Tate, The Photographers' Gallery, Serpentine Galleries, Royal College of Art & Gasworks.

From 2011-2019 she also held the inaugural post of Senior Curator (Digital Programmes) at The Photographers’ Gallery, London where she developed artistic and public projects engaged with machine vision, synthetic imaging, net culture and speculative photographic education, commissioning new work from artists including James Bridle, Alan Warburton, Morehshin Allahyari and Erica Scourti. Key projects include the platform Unthinking.Photography, “Post-Capitalist Photography Now!” (with Ben Burbridge), “All I Know is What’s On the Internet” and “Jonas Lund: Operation Earnest Voice” which transformed a floor of The Photographers’ Gallery into a fully staffed ‘influencing agency’ tasked with reversing Brexit over 4 days in January 2019. She continues to work with The Photographers' Gallery as Adjunct Curator of Research, supervising research on machine vision, post-photographic curating and digital art. 

She serves on the Editorial Advisory Board of Photographies (Routledge) and Media:Art:Write:Now (Open Humanities Press) and the Board of Photoaccess, the ACT's centre for photography. She has served on international juries including the P3 Post-Photography Prototyping Prize in Switzerland (2019), 11th Organ Vida Festival Croatia (2020) and Brighton Photo Fringe's OPEN20 SOLO award (2020), UK. 

Researcher's projects

Funded Research Projects 

Documenting Digital Art: re-thinking histories and practices of the museum and beyond, Arts and Humanities Research Council (UK) 2019 - 2021 £371,154 Partners: University of Exeter (UK), The Photographers’ Gallery (UK), LIMA (NL), Institute Bevilacqua LaMasa Foundation (IT).

Curating Photography in the Networked Image EconomySwiss National Science Foundation, Dec 2018- Dec 2020, CHF 217,000. Partners: Lucerne University of Applied Art & Design (CH), The Photographers’ Gallery (UK), Fotomuseum Winterthur (CH), Foto Colectania (ES).


Selected Publications

K Sluis (forthcoming) Desperately Seeking Audience: Analytics in the 21st Century Museum In: B Crone & B El Baroni Companion to Curatorial Futures Edinburgh: Edinburgh University Press

G Cox, A Dekker, A Dewdney & K Sluis (2021) Affordances of the Networked ImageNordic Journal of Aesthetics No. 61-62. pp. 32-37 https://tidsskrift.dk/nja/article/view/127857/174089

K Sluis & J Lund (2021) Programming Trust, F/Stop Festival Leipzig <online> https://f-stop-leipzig.de/en/digital-wondering-13/

K Sluis (2021) Glimmering Screens, Institutional Dreams: Curating Post-Photography. In: W Brückle & S Vitale (eds) Nummer 10: Post-Photography. Lucerne University of Applied Sciences & Arts.

M De Mutiis, K Sluis & J Uriate (2021) You Must Not Call It Photography If This Expression Hurts You In: A. Dekker (ed) Curating Digital Art: From Presenting and Collecting Digital Art to Networked Co-curation Amsterdam: Valiz

K Sluis & N Wietlisbach (2021) The Flight of the Networked Image: From Screen to Museum and Back Again. In: D. Gassert et al (ed.) Eva & Franco Mattes: Dear Imaginary Audience. Switzerland: Fotomuseum Winterthur

K.Sluis & A Sauer (2020) Unboxing Photography. In: Getrude Wagenfeld-Pleister (ed.) Adrian Sauer: Photo Works. Berlin: Kerber.

K Sluis (2020) As We May <blink>. In: V. Perrin (ed.) Olia Lialina: Net Artist. Paris: Les Presses du Réel. 

K Sluis (2020) Read me, Write Me: On Becoming Machine Readable YET Issue 12 Switzerland

K Sluis (2020) Photography Must Be Curated!Still Searching: A Platform for Contemporary Photographic Discourse. Switzerland: Fotomuseum Winterthur

K Sluis (2020) Beyond Representation? The database-driven image and the non-human spectator. In: S. Bull (ed.) A Companion to Photography. London: Wiley-Blackwell pp. 113-129 ISBN: 9781405195843

K.Sluis (2017) Accumulate, Aggregate, Destroy: Database fever and the archival web. In: A Dekker (ed.) Lost and Living (in) Archives, Amsterdam: Valiz pp. 24-71 ISBN: 9789492095268

K Sluis, L Manovich et. al. (2016) The Digital Non-VisitorArt in America, Oct 2016

K.Sluis (2016) ‘Authorship, Collaboration, Computation? Into the Realm of Similar Images’ In: K Kuc & J Zylinska (eds) Photomediations: A ReaderLondon: Open Humanities Press. ISBN: 9781785420023 

K.Sluis, C.Paul & J. Stallabrass (2013), The (Photographic) Canon After the Internet: Katrina Sluis in conversation with Christiane Paul and Julian Stallabrass in: Aperture No. 213, Winter 2013 

D. Rubinstein & K. Sluis (2013) The Digital Image in Photographic Culture: Algorithmic Photography and the Crisis of Representation.In: M. Lister (ed.) The Photographic Image in Digital Culture, 2nd Ed. London: Routledge ISBN: 0415535298 

D. Rubinstein and K.Sluis (2013) Notes on the Margins of Metadata; concerning the undecidability of the digital imagePhotographies 6 (1) pp. 151–158. ISSN 17540763 

D. Rubinstein and K.Sluis (2008) A Life More Photographic? Mapping the Networked ImagePhotographie1 (1) pp.9-28. ISSN 17540763 

Available student projects

I am able to supervise postgraduate projects in art and technology, with specific expertise in new media curating, post-photographic theory and practice, art and machine learning, museums and network culture. Candidates have the opportunity to become part of the community of researchers at the Computational Culture Lab in the School of Art & Design. 

Current student projects

Victoria Ivanova (Collaborative PhD, Partners: Serpentine Galleries & London South Bank University): Developing Infrastructural Praxis for an Evolving Understanding of Art’s Societal Impact

Marian DrewThe Real Unreality of the Photograph (ANU)

Eliane Touma, Warscapes, violent terrains, and troubled atmospheres in the contemporary Arab world (ANU)

Past student projects

Nicolas Malevé (2021) (Collaborative PhD, Partners: The Photographers' Gallery & London South Bank University): Algorithms of Vision, Human and Machine Learning in Computational Visual Culture

Alan Warburton (2018) What type of affordances are manifested in commercial CG software and what kind of critical arts practice might they engender? MA New Media London South Bank University

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Updated:  20 September 2021 / Responsible Officer:  Director (Research Services Division) / Page Contact:  Researchers