Music, Birmingham City University
Thesis title:
My research reconstructs the conditions for the emergence of curating as a discrete profession from the 1960s, and the contradictions and crises that ensue with Relational Aesthetics, New Institutionalism, the institutionalisation of Institutional Critique, and the proposition of ‘the curatorial’ as a philosophical model of practice. In parallel, I explore the construction of Performance Art and Sound Art as ‘visual’ or gallery practices, and the curatorial possibilities offered by ‘musicality’ – music in its post-medium condition – elaborated through the work and writing of John Cage, and in situated reflections on the Ruhrtriennale (2012-14), Kunsthalle for Music, and on documenta14.
In Media Res: Heiner Goebbels, Aesthetics of Absence: Texts on Theatre, Third Text (2016) - http://www.thirdtext.org/In-Media-Res
Listening With-Towards in the Gallery, in Joseph Kohlmaier and Sam Belinfante (eds.), The Listening Reader, London: Cours de Poétique, 2016.
Read Aloud at 4am, Riffs 1/1 (2017) - http://riffsjournal.org/issues/volume-1-issue-1-feb-2017/read-aloud-at-4am-ed-mckeon-birmingham-city-university-phd/
The Concept Album as Curatorial 'Medium': Colin Riley's In Place. TEMPO, forthcoming (2021).
"Must the Arts Be Relevant?" Panel discussion produced for Free Thinking, BBC Radio 3, 9 Dec 2015
"Listening to others listening in the gallery", Sheffield Hallam University, as part of a one-day symposium linked to Listening, the Hayward touring exhibition, June 2016
"Listening after Oliveros", performance lecture with IONE at documenta14, Athens, 13 July 2017
"The Curator as a Visual Construct", Middlesex University, 13 November 2018
"Blindspots: Curating and Musicality", Columbia University, 8 November 2019
Curatorial studies
Composition
Post-Critical Philosophy
Post-medium and 'postconceptual' art practice
Musicality
Editorial Committee of Riffs
Trustee, the Hinrichsen Foundation
Vice Chair, British Section, the International Society for Contemporary Music