Dr Mark Stocker FSA (Chair)
Mark is a semi-retired art historian living in New Zealand with teaching and museum experience dating back 35 years. He has prolifically published especially on British and New Zealand public monuments and sculpture, Victorian art and coin and medal design, and is also an Art Deco enthusiast. Mark is a trustee of the PSSA.
Joanna Barnes
A Courtauld Institute of Art graduate, Joanna worked at the Heim Gallery (London) Ltd., becoming the Director of the Sculpture Department. In 1987, she set up Joanna Barnes Fine Arts, exhibitions she organised include ‘Pre-Raphaelite Sculpture: Nature and Imagination in British Sculpture 1848-1914’, ‘Leighton and his sculptural legacy’ and ‘Ettore Ferrari, 1845-1929 : terracottas and drawings for civic and funerary monuments’. She curated the exhibition ‘Arthur Fleischmann: a centennial celebration’ at the Mestke Múzeum in Bratislava in 1996 and helped establish the Arthur Fleischmann Museum there in 2002. A former trustee of the Public Monuments and Sculpture Association, Joanna was editor of its online magazine, 3rd Dimension and co-founder of the Sculpture Journal. Joanna is Co-Chair of the PSSA.
Richard Barnes
After the Photographic Arts BA course at the University of Westminster, Richard toured Britain on horseback, worked as a copywriter and as an archaeological photographer, before freelancing and eventually establishing a publishing imprint. Interest in a 19C sculpting ancestor led him to join the PMSA, now the PSSA. He wrote a biography of John Bell, followed by The Year of Public Sculpture – Norfolk, and a book about monumental obelisks in Britain. Richard also co-authored British Sculpture in India, and produced The Art of Memory: Sculpture in the Cemeteries of London, both with the assistance of the Henry Moore Foundation. He is involved in all aspects of the book producing process.
Dr Robert Burstow
Robert is an art historian based at the University of Derby, where he is Associate Professor of History and Theory of Art. Alongside his work as a lecturer, doctoral supervisor and leader of postgraduate research in Arts, he is an author and independent curator. As a specialist in the history and theory of mid-20th century British sculpture, he has presented papers at national and international academic conferences, published essays and reviews in academic books and journals, and curated exhibitions at the Royal Festival Hall and Henry Moore Institute. He is currently researching the public sculpture of Derbyshire and Nottinghamshire for the PSSA’s Public Sculpture of Britain series.
Terry Cavanagh
Terry wrote three volumes for the PMSA Public Sculpture of Britain series, the pilot volume on Liverpool (1997); Leicestershire and Rutland (2000); and South London (2007). He contributed over 1,000 entries to The Bloomsbury Guide to Art (1996) and has revised several entries on sculptors for the Oxford Dictionary of National Biography. In 2002, he wrote the catalogue for the sculptor Ken Ford’s exhibition at the Goldmark Gallery, Uppingham, and is currently compiling Ken Ford’s catalogue raisonné.
Ray McKenzie
Ray worked for more than thirty years at Glasgow School of Art, first as a Senior Lecturer in Art History, later as a part-time Research Fellow and Honorary Professor. Relevant publications include Dangerous Ground: Sculpture in the City (1999, co-edited with Andrew Guest), The Flower and the Green Leaf: Glasgow School of Art in the time of Charles Rennie Mackintosh (2009), and three volumes in the Public Sculpture of Britain series: Glasgow (2002) and Edinburgh (vol. 1 The Old Town and South Edinburgh; vol. 2 The New Town, Leith and Outer Suburbs, 2018). Ray is a trustee of the PSSA.
Dr Philip Ward-Jackson
Before his retirement in 2004, Philip worked in the Conway Library of the Courtauld Institute. His PhD thesis (1970) was on J.-K. Huysmans and the Visual Arts, but in the Conway he was responsible for photographic records of sculpture (4th century BC to the present) and architecture and design (1800 to the present). Before the Courtauld, he had studied at St Martin's School of Art, and still draws and paints. In the course of his career he developed photographic skills, which are now largely redundant in the digital age, but whose results can still be seen online (The Courtauld's Art and Architecture website). He has contributed two volumes, Public Sculpture of the City of London (2003) and Public Sculpture of Historic Westminster (2011) to the PMSA (now the PSSA)'s National Recording Project, and has written many articles chiefly on sculptors from mainland Europe working in 19th century Britain.
