Glyn Davis

Dr Glyn Davis – Project Leader, Edinburgh College of Art

Dr Glyn Davis is Reader and Chancellor’s Fellow in the School of Design at Edinburgh College of Art, University of Edinburgh. He is the Project Leader of Cruising the 70s. Glyn is the co-editor of Warhol in Ten Takes (BFI, 2013) and the co-author of Film Studies: A Global Introduction (Routledge, 2015). He is currently writing a book entitled ‘The Exhausted Screen: Cinema, Boredom, Stasis’.



Dr Fiona Anderson – Principal Investigator, Newcastle University

Fiona Anderson is Lecturer in Art History in the Fine Art department at Newcastle University. At the moment, she is completing a book on the art and gay cruising scenes on New York’s derelict waterfront in the years immediately preceding the HIV/AIDS epidemic, looking most closely at the work of David Wojnarowicz and Peter Hujar, and working on a new project on the culture and politics of the drug AZT. As part of Cruising the Seventies, she is undertaking research into LGBT experience in art schools in the UK in the 1970s.

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Nat Raha – Postdoctoral Research Assistant, Edinburgh College of Art

Based at the Edinburgh College of Art, Nat is a postdoctoral researcher on Cruising the Seventies working on queer print and memory in queer and trans 70s, and is organising the ‘Cruising the Seventies: Imaging Queer Europe Then and Now’ conference in Edinburgh (14-16 March 2019). Nat is a poet and trans / queer activist – her third collection of poetry of sirens, body & faultlines was recently published by Boiler House Press. She is also completing her PhD at the University of Sussex, UK, titled ‘Queer capital: Marxism in queer theory and post-1950 poetics’.  Her current research also investigates radical transfeminism, race in UK poetry and poetics, and creative and critical methods.



Benny Nemerofsky Ramsay – PhD Student, Edinburgh College of Art

Benny Nemerofsky Ramsay is an artist and diarist. His artistic gestures in sound, video and text contemplate the history of song and the gender of voices, the rendering of love and emotion into language, and the resurrection and manipulation of voices – sung, spoken or screamed. In his work you will find bells, bouquets, enchanted forests, folding screens, gay elders, glitter, gold leaf, love letters, imaginary paintings, madrigals, megaphones, mirrors, naked men, sign language, subtitles, and the voices of birds, boy sopranos, contraltos, countertenors and sirens. Nemerofsky’s video and audio works are part of the permanent collection of the Kunsthistorisches Museum Vienna, the Polin Museum for the History of Polish Jews in Warsaw, Thielska Galliert Stockholm and the National Gallery of Canada.