New Collecting Awards: Previous winners and mentors

Find out more about past winners, their projects and their mentors.

Round two (awarded December 2015)

Richard Parry, curator at the Grundy Art Gallery, Blackpool
Julie-Ann Delaney, curator at the Scottish National Gallery of Modern Art (SNGMA), Edinburgh
Jenny Lund, curator of fine art at Royal Pavilion & Museums (RPM), Brighton & Hove
Rebecca Newell, curator at the National Army Museum, London
Mark Elliott, curator for anthropology at the Museum of Archaeology and Anthropology, Cambridge
Thomas Hockenhull, curator of modern money at the British Museum, London

Round one (awarded April 2015)

Sara Bevan, curator of contemporary art at IWM London (Imperial War Museums) 
Hannah Jackson, assistant curator of fashion & textiles at The Bowes Museum, County Durham
Charlotte Keenan, curator of British art for National Museums Liverpool
Mariam Rosser-Owen, Middle East curator at the V&A, London 
Sarah Rothwell, assistant curator of modern & contemporary design at National Museums Scotland, Edinburgh

Richard Parry, curator at the Grundy Art Gallery, Blackpool

Awarded £80,000 to build a collection of light-based art.

Richard would like to build a new strand for collecting light-based art at the Grundy, introducing significant work into their collection, and becoming the gallery nationally (and internationally) known for its collection of light-based work. 

Blackpool is in many ways the cultural ‘home’ of light in the UK, with the Illuminations drawing 3 to 4 million visitors each year, and the award will help build a new and substantial chapter to this. 

Using the award, Richard will be able not only to research and develop key relationships with highly regarded artists and curators working with light, but also then to purchase and display works by artists internationally recognised for their work in this medium. 

A core aim will be to build audiences through the programme, contributing to national conversations around how contemporary art can contribute to audience development, especially in seaside economies such as Blackpool.  Through studio visits, curatorial research, and exploring links with other organisations, the award will significantly contribute to building the curatorial knowledge and skills base within the Grundy.

Richard's mentor is Godfrey Worsdale OBE, director at Henry Moore Foundation

Trained as an art historian in London, Worsdale's career began in the early 1990s at the British Museum, where he worked in the Department of Printing and Drawings. In 1994, he simultaeously established Cultural Instructions; an exhibition space in London dedicated to contemporary projects.

He joined Southampton City Art Gallery as a curator in 1995 and became its director three years later. In 2007 he moved to the North East to establish Middlesborough Institute of Modern Art.

As the founding director, he co-curated mima's inaugural exhibition, Draw, which featured the work of Marcel Duchamp, Pablo Picasso, Joseph Beuys, Ceal Floyer, Damian Hirst and Chris Ofili.

During his seven years as the director of BALTIC in Gateshead, Worsdale oversaw major solo exhibitions such as Jenny Holzer, Daniel Buren, Elizabeth Price, Jim Shaw and Anselm Kiefer. Under his direction, BALTIC also hosted the Turner Prize in 2011, making it the first venue to host the prize outside Tate.

In 2015 he became the director of the Henry Moore Foundation and now divides his time between Perry Green in Hertfordshire where Moore lived and worked, and the Henry Moore Institute in the country in which he, like Henry Moore, grew up. Worsdale was awarded an OBE in the 2016 New Year's Honours list for services to the visual arts.

Julie-Ann Delaney, curator at the Scottish National Gallery

of Modern Art (SNGMA), Edinburgh

Awarded £80,000 towards a project focussing on contemporary performance art, collection care and display.

The SNGMA holdings encompass over a century of artistic endeavour, with works made across a huge expanse of media including painting, sculpture, works on paper, photography, video and installation, but crucially, not performance.

Julie-Ann proposes to undertake a period of in-depth study around current and historical performance art practice, collection care and display. Through the research project she hopes to identify the first performance work(s) for the gallery to acquire, filling one of the most significant gaps in the collection. 

The award will also be used to develop a public programme of performance – enabling insight into the challenges of display and invigilation, as well as providing an opportunity to gain visitor feedback. 

The ultimate aim is to identify a number of performances by contemporary artists that can join SNGMA’s holdings, be displayed to the public, and be made available to loan to other institutions.

Julie Ann's mentor is Sabine Breitwieser, director of the Museum der Moderne Salzburg

Originally trained as a lawyer, and after working for independent spaces in Vienna, Breitwieser became the Founding Director and Chief Curator of the Generali Foundation in 1988. In this role she planned and opened a new museum building in Vienna and built up a vast collection of conceptual art and sculpture.

At the Generali Foundation, Breitwieser has curated numerous exhibitions including the 1996 exhibition White Cube / Black Box, an exhibition of sculpture, installation and moving image works which featured work by Valie Export and Gordon Matta-Clark.

In addition to group exhibitions like vivencias/life experiences she has organised numerous retrospectives and solo exhibitions by artists such as Andrea Fraser, Dan Graham, Mary Kelly, Edward Krasinski, Martha Rosler and Allan Sekula.

In 2010, she was appointed the chief curator of Media and Performance Art at the Museum of Modern Art in New York. During her tenure at MoMA she staged ambitious projects for the museum's performance programme including Martha Rosler's Meta-Monumental Garage Sale, an installation in which MoMA's atrium was transformed into an enormous garage sale and Some Sweet Day, and an Isa Genzken retrospective that travelled in the United States.

She has also written extensively on contemporary art and lectured in universities, at conferences and art institutions the world over and has been the director of the Museum der Moderne Salzburg since 2013.

During her three years as director, Breitwieser has overseen the acquisition the Generali Foundation's collection as a long-term loan, which includes around 2,000 works by 130 artists.

As well as this major acquisition, she has overseen and organised exhibitions by major figures in contemporary art including Ana Mendieta, Etel Adnam, Simone Forti, and Carolee Schneemann.

Jenny Lund, curator of fine art at Royal Pavilion & Museums (RPM), Brighton & Hove

Awarded £80,000 to build a nationally significant and inspiring new collection of artists’ moving image works.

The award will bring RPM’s important historic Film and Media collection, which reflects Brighton & Hove’s early film pioneers, up to date with a contemporary selection. 

Critically, the project will also establish firm foundations for the future development of this collection: investing in and extending curatorial and collections knowledge, skills and contacts, researching audiences, and establishing new policies and procedures relating to moving image care and conservation.

Jenny’s New Collecting Award will enable her to develop a network of professional contacts, visit archives, attend seminars and make studio visits, deepening her knowledge of contemporary British artists’ moving image practice.

Rebecca Newell, curator at the National Army Museum, London

Awarded £60,000 to build a collection of contemporary art that explores hidden histories in the British Army.

Rebecca wants to further develop the National Army Museum into a 21st-century museum that fully engages with the broad content of its collections.

By gathering artistic responses to the British Army, she wants to address interpretive ‘gaps’ through collecting. In doing so, she hopes to ask questions that curators alone cannot – about gender, diversity, LGBT issues, adaptability and discrimination.  

The National Army Museum is a storehouse of rich and diverse stories and objects that are of interest to contemporary artists, but possibilities of artistic scrutiny and collaboration are still relatively untapped. Stories of diversity in the army are inherent but not manifest in the museum’s conventional material collecting culture and historical interpretation.

With the award, Rebecca aims to deepen and embed expertise, time and resource to the collecting of art for the museum that speaks about sensitive, under-explored, hidden histories, draws in audiences in the contemporary, and works in dialogue with existing collections.

Rebecca's mentor is Simon Baker, curator of photography, Tate

Formally associate professor of art history at Nottingham University, Simon was appointed Tate's first curator of photography in 2009.

Since joining the gallery, he has worked on acquisitions, displays of the permanent collection and exhibitions at both Tate Modern and Tate Britain.

Baker and colleagues established the Photography Acquisitions Committee which has been instrumental to the expansion of Tate's collection.

During his time at Tate, he has also worked on major exhibitions including the 2012 exhibitions William Klein + Daido Moriyama and Conflict, Time, Photography in 2014.

Mark Elliott, curator for anthropology at the Museum of Archaeology and Anthropology, Cambridge

Awarded £50,000 to build a collection of contemporary works by artists and makers from indigenous communities in India.

Mark wants to acquire important modern and contemporary works by indigenous, Adivasi or ‘tribal’ artists and makers in India, commissioning pieces that respond directly to MAA’s existing historical collections.

Working with partners in India, and targeting makers and traditions not widely represented in UK museums, the acquisitions will unlock the potential of Cambridge’s largely unrecognised Indian collections.

New works will form the centrepiece of Another India, a major exhibition at MAA in 2017, juxtaposing contemporary and historic artworks to trace encounters between Europeans, Indians and indigenous people from the 19th century to the present.

The project will transform existing collections, creating a coherent body of work, and collaboratively reimagine and reinterpret indigenous material histories for a new generation. It will create new relationships between MAA and communities in India, engage scholars and communities in the UK and build a constituency for these reinvigorated collections for years to come.

Thomas Hockenhull, curator of modern money at the British Museum, London

Awarded £50,000 to build a collection of numismatic material from socialist and former socialist governed countries.

Thomas aims to build a visual record of communist economies by amassing a national collection of numismatic material from socialist and post-socialist governed countries, with a particular focus on former Soviet satellite states.

This will take the form of banknotes, coins, posters, designs, bank books, documents and financial ephemera to provide a unique snapshot of all aspects of finance under the planned state economy. It will also illustrate the effects of the upheaval during the transitional periods from socialist to post-socialist governments.

A major aim of the project is to establish longstanding ties with former state-run institutions, galleries and overseas numismatic societies, creating potential for further collaborations and acquisitions in the future.

Another major outcome will be a free exhibition at the British Museum using a selection of the material acquired (possibly accompanied by a publication), in time touring to other venues across the UK.

Thomas's mentor is Victor Buchli, professor of material culture at University College London

Buchli primarily works on architecture, domesticity, the archaeology of the recent past, and critical understandings of materiality and new technologies. 

He also teaches on the UCL Urban Studies MSc and supervises on the Mphil/PhD programme at the Bartlett and the Slade and serves on the Board of the Victoria and Albert/Royal College of Art MA History of Design Programme.

He is on the Steering Committee of the Victoria and Albert Rsearch Institute (VARI).

He has conducted fieldwork in Russia, Britain and Kazakhstan. His latest book An Archaeology of the Immaterial, which examines questions surround immateriality, was published in 2015.

Sara Bevan, curator of contemporary art at IWM London (Imperial War Museums) 

Awarded £80,000 to build a collection of work exploring the theme of war and the digital – read her blog.

Sara has worked at IWM since 2004. In 2013 she curated Catalyst: Contemporary Art and War at IWM North in Manchester, a critically acclaimed exhibition of the museum's contemporary art collection from the Gulf War onwards.

Other recent projects include the launch of the IWM Contemporary programme with Omer Fast's film 5,000 Feet is the Best in 2013, an exhibition of works by Ori Gersht at IWM London in 2012, and Loss at the Golden Thread Gallery in Belfast in the same year. Her book on IWM's contemporary art collection will be published in March 2015.

She said: 'I am delighted to have been awarded this funding by the Art Fund. It’s a fantastic opportunity to develop IWM's collection in a new direction, while broadening my own knowledge. IWM has a unique collection of contemporary art and this award will allow us to build on this, exploring how artists have addressed the multifaceted theme of war and the digital.

'Shifts in communication and surveillance, developments in technology and remote weapons, and the increase in cyber-attacks have all challenged our perceptions of conflict. I plan to investigate how artists are responding to these new circumstances in their work.'

Sara's mentor is James Lingwood, co-director at Artangel

James Lingwood has been co-director of Artangel with Michael Morris since 1991.

Among his most well-know projects of the past 20 years are Rachel Whiteread's House (1993-94) and Michael Landy's Break Down (2001) in Oxford Street.

He has also worked on Gregor Schneider's Die Familie Schneider (2004), Francis Alÿs' Seven Walks (2005), Roni Horn's Vatnasafn/Library of Water in Iceland (2007) and Roger Hiorns' Seizure (2008).

Other projects include ambitious moving-image installations with artists such as Douglas Gordon, Steve McQueen and Tony Oursler.

Hannah Jackson, assistant curator of fashion and textiles 

at The Bowes Museum, County Durham

Awarded £60,000 to build a collection of French haute couture – read her blog.

Hannah started working at The Bowes Museum in May 2014, following roles as a curatorial volunteer at Kensington Palace and a studio assistant at Janie Lightfoot Textiles. Previously, she worked in the publishing department at the Royal Academy of Arts. 

She studied a BA in History of Art and an MA in History of Dress, both at The Courtauld Institute of Art. During her studies she undertook volunteerships and internships at the Victoria and Albert Museum, Timothy Taylor Gallery and The Burlington Magazine.

She said: 'It's incredibly exciting to have been selected for the New Collecting Awards by the Art Fund. The programme will open up my role as an assistant curator, offering me the chance to delve into an area of research that may otherwise have been left untouched.

'To have the opportunity to add French Haute Couture objects to the fashion and textiles collection, which will fit in so well with the history and DNA of The Bowes Museum, is a great privilege and one I'll be very proud to undertake.

Hannah is being mentored by curator Judith Clark

Judith Clark is a curator and exhibition-maker based in London.

An Australian raised in Rome, she moved to London to study architecture at the Bartlett (UCL) and the Architectural Association.

She is currently professor of fashion and museology at London College of Fashion, UAL, where she teaches on the MA Fashion Curation.

Since setting up her gallery in 1997, Clark has museology at London College of Fashion, UAL, where she teaches on the MA Fashion Curation. 

Charlotte Keenan, curator of British art for National Museums Liverpool

Awarded £60,000 to build a fine art collection relating to Lesbian, Gay, Bisexual and Transgender (LGBT) culture and history – read her blog

Charlotte joined National Museums Liverpool in 2010 as the assistant curator of fine art. Based at the Walker Art Gallery, she later took up the position of curator of works on paper in 2011 before being appointed curator of British art in April 2014.

Since her arrival she has curated several major exhibitions for the gallery and carried out new research on the collection.

Her current research interests include Edwardian and early-20th-century British art with a focus on the artist Walter Sickert. In 2013 she was the inaugural Andrew W. Mellon Foundation Curatorial Scholar at the Yale Centre for British Art in New Haven, Connecticut, where she carried out new research on the Walker Art Gallery's collection of drawings by the artist. 

Charlotte studied Art History and English Literature at the University of Sussex and completed her Masters in Art History there in 2009. Charlotte was an assistant curator at Brighton Museum and Art Gallery before joining the Walker Art Gallery.

She said: 'I am thrilled to have been awarded this funding, as it will really help with the work I am doing as a curator and to progress the social justice agenda of National Museums Liverpool as a whole. We are committed to representing Lesbian, Gay, Bisexual and Transgender (LGBT) themes across the organisation, and this funding will enable us to build on the work we have already done in this area, by making real changes to the Walker's collections and displays in particular.

'I'm really looking forward to bringing LGBT stories to our visitors through historic and contemporary art, opening up the collections to new audiences and allowing us to incorporate LGBT narratives into our permanent displays on a scale that has rarely been seen before.'

Charlotte is being mentored by curator Ben Harman, director at Stills

Ben Harman is director at Stills, a centre for photography based in Edinburgh. 

Previously he was curator of contemporary art at Gallery of Modern Art (GoMA), where he cared for a world-class collection of modern and contemporary art including photography and lens-based media.

Curatorial projects include: LIVING WITH WAR: Artists on war and conflict (2013); Tales of the City: Art Fund International and the GoMA collection (2012); Alan Dimmick: Photographs from the last 15 years of contemporary art in Scotland (2012); Alasdair Gray: City Recorder (2011); Jo Spence: Self Portraits (2008).

Mariam Rosser-Owen, Middle East curator at the V&A, London

Awarded £50,000 build a collection of contemporary applied art from the Middle East – read her blog.

Mariam has been a curator in the V&A's Middle Eastern Section since 2002, as the Museum's specialist in the arts of the Arab World. She holds a PhD in Islamic Art and Archaeology from the University of Oxford, and has focused most of her work on the arts of the medieval Mediterranean, especially Islamic Spain and North Africa.

She has also researched revivalism and collecting history in the 19th century. She is interested in the materials used to make objects, and how and why certain objects are made, and has written about ceramic production and ivory carving in Islamic art.

'My interest in historic craft processes from the Islamic World has always led me to wonder what craftsmen and women in the region are making today. I am eager to explore how traditional skills are being interpreted in contemporary ways, as well as collaborations with artists and designers.

'I am really grateful and excited that this Art Fund initiative will give me the opportunity to expand my expertise by starting to research this area, as well as the chance to make acquisitions and hopefully develop an exhibition.'

Mariam is being mentored by art writer Tanya Harrod

Tanya is the author of the prize-winning The Crafts in Britain in the Twentieth Century (Yale University Press 1999). She contributes regularly to The Burlington Magazine, The Guardian, Crafts, The Spectator and The Times Literary Supplement.

Her collected journalism, The Real Thing: making in the modern world, will be published by Hyphen Press in 2014. She is on the Advisory Panel of The Burlington Magazine and of Interpreting Ceramics and is Advisor to the Craft Lives Project based at the National Sound Archive of the British Library.

She is a member of the International Association of Art Critics, of the London-based Critics' Circle and of the Art Workers Guild. In 1999 she was given a Ceramics Arts Foundation Award for distinguished service to the Ceramic Arts. With Glenn Adamson and Edward S. Cooke she is the editor of The Journal of Modern Craft. 

Sarah Rothwell, assistant curator of modern and contemporary design at National Museums Scotland, Edinburgh

Awarded £50,000 to build a collection of Northern European Modernist Jewellery circa 1945-1979 –  read her blog.

Following a period of volunteering and working for the Lakeland Arts Trust, Cumbria, and undertaking a MA in Art Museum & Gallery Studies at the University of Newcastle upon Tyne, Sarah worked as exhibitions officer at the National Glass Centre, Sunderland. 

Here she curated a series of exhibitions including Spectacles: The Oliver Goldsmith Collection, Stories of Glass in Sunderland, while also assisting on Interloqui, a major international exhibition for the 54th Venice Biennale in 2011; and Flagrant Wisdom, part of the artist Rose English's series Lost in Music (2009), in which acrobats from Shanghai state circus performed alongside glassmakers from National Glass Centre. 

'I am delighted to be the recipient of a New Collecting Award; this is a wonderful opportunity for me to create a research profile and collections development experience that until my employment with National Museums Scotland has been under-developed.

The project itself is to focus on collecting, researching and disseminating Northern Modernist Jewellery with a particular emphasis on work designed and manufactured in Britain and Northern Europe. British Modernist jewellery has often been overlooked, unlike other British post-war studio movements such as glass and ceramics.

I hope to readdress this by exploring the connections and divergences in terms of style, influence and materials between Modernist works, and establishing a network of curators, researchers and experts within the area of Modernist jewellery.'

Sarah is being mentored by writer and curator Dr Beatriz Chadour-Sampson

Internationally-renowned independent scholar, author, archivist and curator Dr Beatriz Chadour-Sampson is currently a visiting tutor at the RCA and a consultant to the Victoria & Albert Museum and The Royal Collection.

Her published works include research and publication on the Cathedral Treasury of Minden, Germany, on behalf of the Westfälisches Amt für Denkmalpflege, Münster, Germany; Schmuckkunst der Moderne Grossbritannien (Modern Artists' Jewellery from Britain) for the Landesmuseum Mainz, Germany and Cameos and Intaglios of the 16th to 19th Centuries in the Royal Collections, commissioned by Royal Collection Enterprises Ltd, London.

She is curator of the Alice and Leo Koch collection and curator of the collection of religious jewellery and objects, Dreyfus-Best, Switzerland. She also curated the V&A Jewellery gallery.