{"id":3003,"date":"2009-10-18T16:33:23","date_gmt":"2009-10-18T15:33:23","guid":{"rendered":"http:\/\/www.katecorder.net\/?page_id=2"},"modified":"2026-04-20T17:34:37","modified_gmt":"2026-04-20T17:34:37","slug":"about","status":"publish","type":"page","link":"https:\/\/www.katecorder.net\/?page_id=3003","title":{"rendered":"Biography – Exhibitions \/ Academia"},"content":{"rendered":"

Kate Corder<\/strong> is a multi-disciplined artist and researcher. Based in North London, Kate’s art practice continues to evolve and take on varied forms including gardening, painting, sculpture, installation, performance, spoken word, creative writing, film, photography, walking, acting as a tour guide (HOW – Heathrow Orchard Walks), drawing, sewing, making vegan cake, jam and chutney, printmaking and curating. Kate has been Vegan since the early 1990s and her long-term commitment to Veganisim is a central core behind her thinking. She continues to use allotment gardening, plant material and cultivation, as strands within her practice. Currently her main cultivation site is sited at Plot 19 Fuel Lands. Previously sites included Plot 21 (Culver Lane), Reading and Plot 326 (Bulmershe). On going observations of ecologies, eco catastrophe, land use and wildlife are themes within her work, as is the non-human.<\/p>\n

If you would like to see Kate Corder’s artwork, prints, drawings and paintings etc please contact her directly. Her archive of artwork is extensive. She has many prints and paintings in private collections and a few of her artworks are owned by public collections. Kate\u2019s Instagram account is @kate.corder (request to follow her).<\/p>\n

Dr Kate Corder studied for a Practice Based PhD in Art at University of Reading. Kate Corder’s PhD thesis and research practice investigated allotments, rural labour, plant and land cultivation in art. A three-year study of an allotment plot in the garden at the Museum of English Rural Life in Reading is recorded on the Allotment Plot Blog<\/a><\/em> alongside a comparative study of Allotment Plot 326<\/em> at Bulmershe Allotments. When cultivating allotments, Kate continues to be assisted by and collaborates with Ella Montt<\/a>. Films document the research process and the performative nature of the allotment garden. Kate Corder curated Cultivation Field<\/a><\/em> in the form of a symposium in 2011 and followed by an exhibition of artwork pertaining to plant-based material in 2012.<\/p>\n

Kate’s project HOW – Heathrow Orchard Walks<\/i><\/a> series (2014-2016) explored threatened land and histories of orchards and market gardens around the Heathrow area. Photographs and films from HOW have been exhibited during the touring Document, Alternative<\/em> exhibition series and in NYC. Kate Corder was an active member of art research group sensingsite<\/a> at Central St Martins.<\/p>\n

Education: <\/strong>
\nPhD in Art 2009-2014 University of Reading
\nMFA 2006 University of Reading
\nPGDip Printmaking Central St Martins
\nBA (Hons) Fine Art\/ Painting Winchester School of School of Art
\nFoundation Diploma in Art & Design, Somerset College of Art & Technology<\/p>\n

One Person Exhibitions:<\/strong>
\n2024 – River Willow Wild Life<\/em>, Community Gallery, River & Rowing Museum, Henley on Thames, RG9 1BF 1st October to 25th November 10:00-16:00
\n2018 – Myth<\/em>, lithographic prints and drawings, Progress Theatre, The Mount, Reading, RG1 5HL
\n2018 – Plant and Plot<\/em>, The Turbine House, Blake’s Lock, Kenavon Drive, Reading RG1 3DH
\n2016 – HEATHROW ORCHARD WALKS Perf<\/a>ormance Activism Documentation<\/em> by Kate Corder, curated by Lisa A. Banner, Institute of <\/em>Fine Arts, 1 East 78th Street, NY 10075
\n2007 – Plant<\/i>, Reading International Solidarity Centre, Reading
\n2003 – Brewery Arts Centre, Cirencester, UK
\n1998 – Bear Necessities<\/em>, Hausbaund, 28 Bond Street, New York, NY
\n1996 – Bearable<\/em>, Luna Lounge, Ludlow Street, New York, NY 10002
\n1995 – Teddy Bears Picnic<\/em>, Bell Cafe 310 Spring Street, NY 10013
\n1994 – Brewhouse Theatre and Arts Centre, Taunton, Somerset
\n1994 – Valerie\u2019s, 149 Ludlow Street, New York, NY 10002
\n1993 – The Bell Cafe, 310 Spring Street, New York, NY 10013<\/p>\n

Selected\u00a0Group Exhibitions include:<\/strong>
\n2023 – Ilminster Arts Centre, Ilminster, Somerset TA19 0AN
\n2023 – Play & Compassion<\/em>, Kingshill House Creative Centre, Dursley, GL11 4BZ
\n2018 – Relics<\/em>, Reading Minster, St Mary’s Butt, Reading
\n2018 – Documents, Alternative<\/em>, Verge Gallery, Sydney (January), B-Side Gallery, BSAD Bath (April) and ONCA Gallery, Brighton (September)
\n2017 – Documents, Alternative<\/em>, Airspace Gallery, Stoke-on-Trent (November-December)
\n2017 – 100 Lilies for Oscar Wilde, Reading
\n2016 – Alternative Document<\/em>, Lincoln, UK
\n2009 – EASTinternational<\/em> 2009 – Norwich
\n2009 – EASTvideo<\/i> Touring Programme
\n2007 – Unit 8 Invented Communities<\/i>, Reading
\n2007 – Ni Musculos Ni Secreciones<\/i>, Madrid, Spain
\n2006 – University of Reading MFA & BA curated exhibition, the Art Pavilion, Mile End, London
\n2002 – The Jerwood Drawing Prize, Cheltenham, London, Birmingham, Glasgow, Manchester, Hull
\n2001 – Re. Projects Resistance is Futile<\/i>. Stroud UK
\n2001 – On The Level<\/i>, Art Shape, Gloucester Docks, UK
\n2000 – Small Works<\/i>, The Grey Gallery, NYU, New York
\n1998 – View From Inside<\/i>, Lower East Side Ecology Centre, East 7th St, New York
\n1996 – The Romper Room<\/i> Thread Waxing Space, 476 Broadway, New York
\n1995 – NeoFluxFest<\/i> 95, Here Gallery, 145 6th Ave, New York
\n1995 – Women\u2019s History Month, Pratt Institute New Gallery, Brooklyn
\n1994 – Reverence<\/em>, CBGB\u2019s 313 Gallery, New York NY
\n1992 – The Stansell Gallery, Taunton, Somerset
\n1990 – Lamont Gallery, 65 Roman Road, London E2
\n1989 – The Bankside Open Printmaking Exhibition, London SE3
\n1989 – The Dance Attic, 214 Putney Bridge Road, London SW15
\n1988 – The Women Artists Slide Library Diary 1989, Fulham Palace, SW6
\n1987 – Myth, Dream and Landscape<\/em>, Swiss Cottage Library, London NW3
\n1986 – New Artists Week, Jablonski Gallery, Woodstock St, London W1
\n1984 – Open drawing exhibition<\/em> \u201884, The White Space Gallery, London N1<\/p>\n

Performances and Events:<\/strong>
\n2016 – Kings Cross Late Autumn Walk
\n2016 – HOW – Heathrow Orchard Walks series continues
\n2015 – HOW – Heathrow Orchard Walks series continues
\n2014 – Heathrow Orchards Walk 12 October 2014
\n2014 – Haystacks 14: Heathrow Orchards Walk (autumn version) 14 September 2014
\n2014 – Haystacks 11: Heathrow Orchards Walk (spring version) 27 April 2014
\n2011 – Allotment Artist Talk, Wargrave Gardeners and Allotmenteers Club, Wargrave
\n2011 – Ella Montt Free-Time<\/i>, DRAFT, Parasol Unit, 14 Wharf Road, London N1 7RW
\n2010 – Planting<\/i> Performance, Allotment Plot at MERL, Reading, Berkshire
\n1996-2000 – Losers Lounge,<\/em> stage decorations for NYC musicians collective band tribute shows
\n1995 – Alien Velvet Hare covered with Felt in Memory of Joseph Boyce<\/i>, at NeoFluxFest<\/i> 95, Here, 145 6th Ave, New York, NY 10013<\/p>\n

Public Art Interventions:<\/strong>
\n2009-12 – Allotment Plot<\/i> at MERL, <\/i>Museum of English Rural Life\u2019s garden
\n2009 – Vegetables in the City<\/i> (supported by ACE), Eastinternational<\/i> and The Assembly House and City Hall by Norwich City Council
\n2006 – Herb Garden<\/i>, installation outside Fine Art at University of Reading<\/p>\n

Essay Publications:<\/strong>
\n2018 – Rurality Re-imagined<\/em>, essay “Heathrow: Wilderness and Walking”<\/em>, University of Westminster.
\n2018 – Studies in Theatre and Performance: Volume 38, issue 3 – The Alternative Document: “How – Heathrow Orchard Walks observations and explorations of vibrant land<\/em>“, Taylor and Francis.
\n2017 – Skulptur und Zeit im 20. und 21. Jahrhundert<\/em>, publisher B\u00f6hlau Verlag GmbH & Cie, K\u00f6ln; chapter \u201cPlant growth as transient or durational material constructing sculpture through time<\/em>\u201d.
\n2015 – “Social responsibility and art in public places, gardens and walking trails<\/em>“, Seismopolite
\n2013 – Text extracts from Allotment Plot blog used in Christine Mackey’s SEED MATTER exhibition publication, Limerick City Gallery of Art, (36-41).
\n2012 – Published the Cultivation Field c<\/em>atalogue
\n2012 – Essay for File Note #70 Rachael Champion The <\/em>Ornithopter Garden<\/em>, Camden Arts Centre, London
\n2009 – Essay in EASTinternational<\/em> 2009 catalogue
\n2006 – MFA catalogue; includes images of work and conversation with Marc Chaimowicz<\/p>\n

Curation:<\/strong>
\n2012 – Curated and organized the Cultivation Field Exhibition, Reading, (supported by ACE)
\n2001-4 – Stroud Valleys Artspace SITE festival exhibitions and project co-ordinator, Stroud
\n1998 – Lower East Side Ecology Centre, NY 10009<\/p>\n

Teaching:<\/strong>
\n2021 – Critique for University of Westminster\u2019s post graduate Architecture\u2019s design projects on land surrounding Heathrow
\n2015 – Visiting tutor at the Royal Academy Schools, London
\n2013 – Visiting tutor at the Royal Academy Schools, London
\n2005-6 Art Department, University of Reading
\nVarious art workshops in schools teaching age ranges from 4-16. Visiting tutor at art schools<\/p>\n

Academic Presentations:<\/strong>
\n2020 – Composting Estates<\/em>, Central Saint Martins, King’s Cross, London – “Composting plot ecology, plant material, earthing and unearthing toads”<\/i> (forthcoming).
\n2019 – Approaching Estate, methodologies for practices of site and place<\/em>, Sensingsite at Furtherfield Commons, Finsbury Park, London. Title: “Plant Material, approaching germination<\/em>“.
\n2018 – Documents, Alternative<\/em> Symposium, BSAD, Bath. Title: “HOW and the Production of Jam: a layering of participatory walk events and recipe for sculptural objects”<\/em>.
\n2016 – Walking Women<\/em>, Somerset House, London. Title: “HOW – Heathrow Orchard Walks 2014-2016”<\/em>.
\n2016 – Traffic: Movement \/ Place \/ Flow \/ Mobility<\/em>, Plymouth University and Plymouth College of Art. Title: “Hyper-active global travel and a slow approach to art activism – HOW<\/em>“.
\n2016 – The Alternative Document<\/em> Conference, University of Lincoln. Title: “HOW – Heathrow Orchard Walks, observations and exploration of vibrant land<\/em>“.
\n2015 – In This Neck of the Woods,<\/em> sensingsite 2015, Central St Martins, London. Title: “Rocket and Potatoes, Strawberries and Aggregate: Explorations of Kings Cross<\/em>“.
\n2015 – Social Responsibility and Art Since the 1960s<\/em> Conference, University of Essex, Colchester. Title: “Questions of social responsibility concerning art practice in public places, gardens and walking trails<\/em>“.
\n2015 – Association of Art Historians AAH Conference, Groundwork<\/i> Panel, University of East Anglia, Norwich. Title: “Heath Row: explorations of plant material and soil in relation to human processes of land cultivation<\/em>“.
\n2015 – Rural Spaces in the UK (18th<\/sup> to 21st<\/sup> Centuries: Identities, Mutations and Representations <\/em>Conference, University of Rennes, France. Title: “Explorations and observations of Heathrow\u2019s former \u201cgrade one\u201d agricultural land and contemporary landscape<\/em>“.
\n2015 – Sites of Decay<\/em> Conference, Binghamton University. Title: “Explorations of decaying agricultural land surrounding Heathrow Airport<\/em>“.
\n2015 – Re-Imagining Rurality<\/em> Conference, University of Westminster, London. Title: “Contemporary allotment strategy in relation to the Allotment Movement\u2019s formative history; a visualization through art practice<\/em>“.
\n2015 – Skulptur und Zeit im 20. und 21. Jahrhundert<\/em>, Universit\u00e4t der K\u00fcnst, Berlin. Title: “Plant growth as transient or duration material constructing sculpture through time<\/em>“.
\n2014 – Of the Earth<\/em> Conference, Plymouth University. Title: “An exploration of plant material in relation to human processes of land cultivation<\/em>“.
\n2014 – Practice based PhD in Art. PhD Thesis title: “The Allotment Plot: Place Tilled – An investigation into plant material, rural labour and cultivation within art practice”
\n2014 –\u00a0 Jacques Ranci\u00e8re and the Politics of Adisciplinarity<\/i>, Binghamton University.
\n2012 – Environmental Utterance Conference, University College Falmouth, Cornwall.
\n2012 – PhD Symposium in Art, University of Reading.
\n2012 –\u00a0 JAM2012, University of Reading.
\n2011 – DRAFT – Free-Time<\/em> at Parasol Unit Foundation of Contemporary Art, Wharf Road, London.
\n2011 – Curated and organized the Cultivation Field<\/em> Symposium at University of Reading, (28 September 2011, Minghella Building, UOR).
\n2010 – PhD Symposium in Art, University of Reading.
\n2010 – Art and Landscape: Interdisciplinary Perspectives<\/em>, MERL Symposium, University of Reading.<\/p>\n

Bibliography:<\/b>
\n2014 – The Guardian, Welcome to Heathrow \u2013 a strange landscape, not just an airport <\/a>April 28, 2014, Haystacks, Kathrin B\u00f6hm
\n2013 – ixia public art think tank<\/i> on-line publication for brook & black\u2019s Modern Art Oxford:
\nPlot 16, The Fermenting Room (return of the rhizome).\u00a0<\/i>
\n2009 – Martin Herbert, EAST International<\/i> Review, Art Monthly No 329.<\/p>\n

\u00a9 Copyright Kate Corder<\/p>\n","protected":false},"excerpt":{"rendered":"

Kate Corder is a multi-disciplined artist and researcher. Based in North London, Kate’s art practice continues to evolve and take on varied forms including gardening, painting, sculpture, installation, performance, spoken word, creative writing, film, photography, walking, acting as a tour guide (HOW – Heathrow Orchard Walks), drawing, sewing, making vegan cake, jam and chutney, printmaking […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":3,"comment_status":"closed","ping_status":"open","template":"page-templates\/full-width.php","meta":{"footnotes":""},"class_list":["post-3003","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.katecorder.net\/index.php?rest_route=\/wp\/v2\/pages\/3003"}],"collection":[{"href":"https:\/\/www.katecorder.net\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.katecorder.net\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.katecorder.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.katecorder.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3003"}],"version-history":[{"count":57,"href":"https:\/\/www.katecorder.net\/index.php?rest_route=\/wp\/v2\/pages\/3003\/revisions"}],"predecessor-version":[{"id":3628,"href":"https:\/\/www.katecorder.net\/index.php?rest_route=\/wp\/v2\/pages\/3003\/revisions\/3628"}],"wp:attachment":[{"href":"https:\/\/www.katecorder.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3003"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}