Michael Tooby

Tooby gave the 2018 Ursula Hoff Lecture in curating at the University of Melbourne. In this lecture, Tooby explored how testimony has played a key role in his recent curatorial projects. His starting point was the use of William Blake's Illustrations to Dante in Journeys with 'The Waste Land', which was created by the collective sharing of different life experiences and expertise by over 100 participants in its curating. He will show how this process was informed by his previous interest in testimony when co-curating faith-based and minority cultural projects in Wales, such as The Muslim World on Your Doorstep and Hineni: belonging and identity in a Jewish community.

Other recent academic appointments include: Senior Research Fellow (2014–15) at the Henry Moore Institute; Steering Group Member (2015–18) for the Arts and Humanities Research Council funded research project led by Sonia Boyce, "Black Art and Modernism", at the University of the Arts London; Academic Advisor to the Academy of Visual Arts (2015–18), Hong Kong Baptist University; International Visiting Scholar (2018) in the Art History and Curating programme, Australian National University.

Since 2012, Tooby has been Professor of Art & Design at the Bath School of Art & Design at Bath Spa University. His teaching specialisms are: History of Art & Design; Museology; Contemporary Curatorial Practice.

Previously, Tooby was: curator (1992 to 1999) at Tate St Ives and curator of the Barbara Hepworth Museum and Sculpture Garden (1992–1999); Director, National Museum & Gallery (2000 to 2004) and Director of Learning, Programmes and Development (2004 to 2011) for Amgueddfa Cymru - National Museum of Wales;

Tooby grew up in Coventry and was educated at King Henry VIII School, Coventry (1967 to 1974) before studying for a Master of Arts (MA) in Art History, Archaeology and Anthropology at Magdalene College, Cambridge (1975–78)

Mike Tooby (born 20 December 1956) is an independent curator and researcher based in Cardiff, Wales. His interests lie in integrating the practices often separated in curating in the arts and heritage settings: research, display, promotion, participation and learning. His own practice centres on curating in collaborative or site-specific contexts, where negotiating and celebrating relationships with audiences are at the core of projects.