Born and raised in Germany, educated in New York City (BA, MA, PhD), Harry Heuser is a writer, exhibition curator and lecturer.
Current and recent projects
In my writing, curating and teaching, I explore relationships between the popular and the personal, the multiple and the singular, the durable and the ephemeral, as well as between form and media.
To this end, I have developed interdisciplinary undergraduate modules such as Adaptation: Versions, Revisions and Cultural Renewal and Gothic Imagination, which I teach at the School of Art, Aberystwyth University, in Wales.
More than academic pursuits, my engagement with the intersections of stage, screen, broadcasting and the printed image and word—particularly the liminality of what I termed the ‘immaterial culture’ of radio—is rooted in my queer experience and my sense of hybridity, dislocation and failure.
Revisiting the subjects of PhD dissertation Etherized Victorians and my study Immaterial Culture: Literature, Drama and the American Radio Play, 1929-1954 from the perspective of an art historian, I recently completed “A Forefront in the Aftermath? Recorded Sound and the State of Audio Play on Post-‘Golden Age’ US Network Radio.” The essay considers the state and status of US American radio plays, and the CBS Radio Workshop (1956-57), at the beginning of the television era. The starting point was a paper I delivered in November 2018 at the Tuning in to the Neo-Avant-Garde conference at Ghent University. The essay will appear in an anthology taking its title from that conference.
Another area of interest for me is the relationship between art history and curating; I am teaching both at Aberystwyth University. Most recent in a series of exhibitions I stage annually with a group of undergraduate students of my curating module is Seeing Red. Drawing on the School’s vast collection of prints, ceramics, paintings and photographs, the exhibition will explore the theme in terms of colour and connotations.
Due to the COVID-19 pandemic, the exhibition has not as yet been mounted in our galleries. I am currently in the early stages of developing Inconvenient Objects, an exhibition that reexamines the collections of the School of Art at Aberystwyth University in order to draw attention to the role and responsibility that cultural institutions have to address the realities of Empire, slavery and white supremacism as manifested in some of the items they display or else choose to keep out of sight.
Prior to the pandemic, I also started working on an as yet untitled exhibition of images I snap with my phone camera of the sidewalks of Manhattan. The project builds on my exhibition Travelling Through: Landscapes/Landmarks/Legacies (previously on view at the School of Art Museum and Galleries (2018-19), which, along with paintings, prints, posters, and ceramics from the School’s collection, featured personal photographs charting my relationship with New York City from the mid-1980s to the present day.
In the planning stages is a monograph on painter-printmaker Harry Morley, co-authored with my husband, Robert Meyrick.