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Elisabetta Garletti
Fellow

Dr Elisabetta Garletti

Bye Fellow

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Degrees

  • PhD in History of Art, University of Cambridge
  • MPhil in History of Art, University of Cambridge
  • BA in Modern and Medieval Languages, University of Cambridge

Research Interests

My research interests include: artists’ moving image; feminist, queer and trans approaches to art history and visual culture; postcolonial theory; posthumanism; institutional critique; contemporary British art.

Biography

Dr Elisabetta Garletti is a Bye Fellow in History of Art at Murray Edwards College, University of Cambridge. She completed a PhD in History of Art at the University of Cambridge, exploring the reimagination of visual archetypes of femininity in contemporary British moving image art through queer, transfeminist, postcolonial and posthuman lenses. Prior to her doctorate, she completed an MPhil in History of Art and a BA in Modern and Medieval Languages, also at Cambridge.

Elisabetta supervises undergraduate courses in the Department of History of Art, with a focus on philosophical approaches to the discipline and histories of display, as well as graduate courses in Film and Screen Studies, specialising in queer and feminist approaches to cinema and artists’ moving image. She has also delivered lectures and seminars on feminist and queer art histories, as well as postcolonial feminist approaches to artists’ moving image.

Authored work

  • Academic articles, chapters and reviews

     

    “Rethinking Psychoanalytic Models of Desire through Marianna Simnett’s The Severed Tail (2022).” In Animal Drag, edited by Nicola McCartney. Manchester: Manchester University Press, forthcoming 2026.

     

    “Mary Kelly’s Concentric Pedagogy.” The Burlington Magazine 167, no. 1470 (September 2025): 950–51.

     

    “Imperial Heritage on Trial: Keith Piper’s Viva Voce at Tate Britain.” Visual Culture in Britain (June 2025). https://doi.org/10.1080/14714787.2025.2494958.

     

    “‘More Women’s Work’: Feminised Labour and the Corporatisation of Feminist Discourse in Lucy Beech’s Moving-Image Practice.” ReBus 10 (2024): 30–62.

     

    “Récit, genre et tournant ‘cinématique,’ ou retour au cinéma. La redéfinition des archétypes du conte de fées et de l’horreur dans l’art de l’image en mouvement: l’expérience britannique” [Narrative, Gender, and the Cinematic Turn: The Redefinition of Fairy-Tale and Horror Archetypes in Contemporary British Moving Image Art]. Perspective: actualité en histoire de l’art 2022, no. 2 (2022): 293–306. https://doi.org/10.4000/perspective.28233.

     

    “Therapeutic Aesthetics: Performative Encounters in Moving Image Artworks by Maria Walsh.” Visual Studies 38, no. 1 (2021): 149–51. https://doi.org/10.1080/1472586X.2021.1914153.

     

    Other publications

     

    “Ancestral Technologies: Tabita Rezaire’s Decolonisation of Past-Futures.” ESPACE art actuel 142, forthcoming November 2025.

     

    “Against Canonicity: Intersectional Feminist Acts of Demythification in The Women’s Art Collection.” The Women’s Art Collection, March 2025. https://www.murrayedwards.cam.ac.uk/womens-art-collection/blog-post/against-canonicity-acts-demythification-womens-art-collection

     

    “Jamie Crewe.” Burlington Contemporary, August 2024. https://contemporary.burlington.org.uk/articles/articles/jamie-crewe.

     

    “Nicola L. – The Skin of Things.” Burlington Contemporary, June 2022. https://contemporary.burlington.org.uk/reviews/reviews/the-skin-of-things.

     

    “Toward a Queer Ontology: Adham Faramawy’s Skin Flick.” Full Bleed: A Journal of Art & Design, June 2021. https://www.full-bleed.org/close-look-toward-a-queer-ontology.