New Collecting Awards: Previous winners and mentors

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

Top (l-r): Lena Fritsch, Richard Kelleher, Jessica Carden. Bottom (l-r): Isabel Seligman, Tiffany Boyle, Lisa Mason, Danielle Thom

Round four (awarded June 2018)

Isabel Seligman, Bridget Riley Art Foundation curator at the British Museum, London
Danielle Thom, curator of making at the Museum of London
Richard Kelleher, assistant keeper at the Fitzwilliam Museum, Cambridge,
Lena Fritsch, curator, modern and contemporary art at the Ashmolean Museum, Oxford
Lisa Mason, assistant curator, modern and contemporary design at National Museums Scotland, Edinburgh
Tiffany Boyle and Jessica Carden, independent curators, Mother Tongue, supported by Glasgow Museums

Round three (awarded March 2017)

Anna Rhodes, assistant collections officer at Buxton Museum and Art Gallery
Megan Barford, curator of cartography at Royal Museums Greenwich, London
Bronwen Colquhoun, senior curator of photography at National Museum Wales
Mark Doyle, art gallery curator and collections manager at Touchstones Rochdale
Louise Stewart, cross-collections curator at National Portrait Gallery, London
Martin Goldberg, senior curator, early historic and Viking collections at National Museums Scotland, Edinburgh

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

Isabel Seligman, Bridget Riley Art Foundation curator at the British Museum, London

Isabel Seligman

Awarded £50,000 to acquire drawings by emerging British artists

Isabel is working transform the British Museum's collection of contemporary drawings made by emerging artists in the UK, who have graduated in the past five years or are newly embarking on their artistic career. Currently, of 120 drawings in the collection made in the last 10 years, only one was made by an artist under the age of 30 and very few by artists under the age of 40. Isabel's project seeks to change this and acquire around 30 works by emerging artists.

With the support of the New Collecting Award Isabel is able to visit degree shows, studios and collections of contemporary drawings across the UK to build up a network of drawing-focused artists and curators, acquire works for the collection, and develop a temporary exhibition showing selected drawings.

Isabel's mentor is Katharine Stout, deputy director of the Institute of Contemporary Arts.

Danielle Thom, curator of making at the Museum of London

Danielle ThomAwarded £65,000 to build a collection of work reflecting the relationship between craft and design, and the cultural and economic life of modern London

Danielle's project explores how makers have shaped, and are shaped by, a global city. Focusing on ceramics, furniture and metalwork, she is working to acquire objects which respond to the Museum of London's historical collections, and which are produced in circumstances – and by people – representing the diversity and complexity of London today.

As curator of making, Danielle's remit covers applied and decorative arts from 1700 to the present day. Currently, contemporary applied and decorative arts are considered a gap in the museum’s collection, and the New Collecting Award is helping to address this. Danielle is looking to acquire works that are, in the first instance, representative of the social, cultural and economic contexts which affect making in London today – such as the impact of gentrification on studio space, the influence of the luxury market, and the role played by migrant/diaspora communities in diversifying approaches to craft.

Danielle's mentor is Alun Graves, senior curator at the V&A.

Richard Kelleher, assistant keeper at the Fitzwilliam Museum, Cambridge

Richard KelleherAwarded £40,000 to collect currencies of conflict and dissent from the past 500 years

Richard is working to develop a collection of monetary objects around three themes: wartime, emergency and revolution, and dissent. By contrasting the different ways that states and individuals have issued, used and even defaced money, this new collection of around 200 objects from the 1500s to the present day will enable research into how the materiality, iconography, form and aesthetics of money have changed and developed over five centuries in response to conflict, and how we understand cultures differently by looking at money.

The New Collecting Award helps Richard to address gaps in the Fitzwilliam Museum's post-1500 holdings and establish a unique collection that will provide opportunities for audiences to connect with stories of power, politics and human experience. Outcomes will include a temporary exhibition showcasing the newly acquired material alongside an online exhibition, and learning and engagement programme and resources.

Richard's mentor is Dan Hicks, curator of archaeology at the Pitt Rivers Museum, Oxford.

Lena Fritsch, curator, modern and contemporary art at the Ashmolean Museum, Oxford

Lena FritschAwarded £55,000 to acquire Neo-Expressionist prints and drawings

A New Collecting Award is helping Lena to strategically expand the Ashmolean Museum's collections of modern and contemporary art, specifically by building on a group of German Neo-Expressionist prints by Georg Baselitz, Markus Lüpertz and AR Penck. Lena is seeking to acquire earlier prints and drawings by these artists as well as works by other major artists associated with the movement, including underrepresented names such as Elvira Bach.

Lena's main aim is to build a small but high-quality collection that will create more representative and inclusive narratives of Neo-Expressionism, ultimately enabling the museum to finally display its Neo-Expressionist prints – many of which have never been shown before – in meaningful contexts. This will help to establish Neo-Expressionism as a new key area of research at the Ashmolean, and will offer rich potential for displays, public programming and interdisciplinary projects with local communities.

Lena's mentor is Andrea Schlieker, director of commissions and special projects at White Cube.

Lisa Mason, assistant curator, modern and contemporary design at National Museums Scotland, Edinburgh

Lisa MasonAwarded £22,000 to develop a collection of modernist textiles with a focus on Scottish designers, Scottish textile heritage and national identity

Lisa's collecting project will help to bridge gaps within the existing fashion and textile collection at National Museums Scotland, by focusing on Modernist textiles produced in Britain from c1940 to 1970. Encompassing artist-designed textiles as well as design for mass production, the project aims to collect examples from pioneering firms as well as smaller, more experimental producers and place this work in the context of wider social, economic and design histories.

The project has a particular focus on the ways in which Scottish designers and firms engaged with Modernism and where this sits in relation to Scotland’s textile heritage and national identity. It contributes to a broader strategy to develop National Museums Scotland's collection of post-war textiles, currently an underdeveloped area.

Lisa's mentor is Mary Schoeser, textile historian.

Tiffany Boyle and Jessica Carden, independent curators, Mother Tongue, supported by Glasgow Museums

Jessica CardenTiffany BoyleAwarded £70,000 towards acquiring works by black artists which address the gaps in Glasgow Museums’ holdings, exploring issues of race and diversity

Supported by a New Collecting Award, curatorial duo Mother Tongue are using expertise gathered via their 'AfroScots' research – which has identified that there is an exceptionally low number of works from black artists in visual arts collections across Scotland – to inform the acquisition of eight works for Glasgow Museums' collection. Their vision is to recoup key practitioners and works who have made diverse and overlapping contributions to the visual arts in Glasgow and Scotland, yet who are largely unrepresented in Scottish visual arts collections.

The works by the selected artists will become available for audiences, practitioners and researchers for the first time through the collection access facilities at Glasgow Museums Resource Centres at Nitshill and Kelvinhall. The curators intend to share their expertise in a public forum as the collecting strategy progresses and, in relation to an exhibition, facilitate a working group of emerging BAME practitioners, based locally, to undertake a training opportunity focused on the process of collecting.

Tiffany and Jessica's mentor is Lubaina Himid, artist and professor of contemporary art at the University of Central Lancashire.

Anna Rhodes, assistant collections officer at Buxton Museum and Art Gallery

Anna Rhodes

Awarded £40,000 towards building a collection of 18th-century landscapes of Derbyshire

Anna is working to expand Buxton Museum and Art Gallery’s collection of depictions of Derbyshire, specifically 18th-century landscapes of the county on paper and porcelain. The project will build on the museum’s existing collection of 50 works in watercolour dating from 1770-1820, adding works on subjects that are currently absent or by artists who are not represented in the collection, including lesser-known and amateur artists.

Not only will the award allow Anna to increase the number of works on display for visitors and make more collections available for innovative projects such as the museum’s ‘Pictures in the Landscape’ programme, but it is hoped this greater visibility will in turn help raise the profile of the county as a destination for the picturesque traveller – and the museum as a serious centre for the study of 18th-century Derbyshire.

The new acquisitions will be added online to ‘Depicting Derbyshire’, Anna’s project supported by a Paul Mellon Digital Grant to research, catalogue and digitise the museum’s 18th-century topographical collection, and allow her to explore the cross-over between artists who worked on paper and porcelain – examining questions such as why, for example, early Derbyshire industrial scenes seem to appear more often on the latter than on the former.

Anna's mentor is Frances Carey, a freelance academic advisor.

Frances Carey

Frances is a freelance academic advisor, consultant to arts and heritage organisations and chair of the Marie-Louise von Motesiczky Charitable Trust, a charity supporting the visual arts, music, museum training, social change and medical welfare.

From 1975-2011 Frances worked at the British Museum, entering as a curator to develop a collection of modern graphic art and becoming Deputy Keeper of the Department of Prints and Drawings in 1994. From 2003-2009 Frances was the British Museum’s first Head of National Programmes then Senior Consultant for Public Engagement from 2009-2011.

Since 2003 she became involved in most aspects of the Museum’s public programming. This included helping to lead on a five-year partnership with Royal Botanic Gardens Kew from 2008-12 that resulted in a different landscape each year in front of the museum covering a variety of habitats: China, India, South Africa, Australia and North America, and initiating and organizing the British Museum’s wider partnership with the BBC and museums across the UK as an extension of 'A History of the World' in 2010.

Most recently, Frances has been contributing to a joint British Museum/King’s College London MA on Representing the 18th Century, advising a Norwegian arts foundation, co-curated an exhibition on the Norwegian painter Nikolai Astrup (1880-1928) at Dulwich Picture Gallery in 2016, and participated in one on British landscape drawings and watercolours 1850-1950 at the British Museum (2017). Frances is currently preparing a UK touring exhibition from the British Museum’s collection of Käthe Kollwitz’s prints and a catalogue raisonné of Lucian Freud’s prints.

Megan Barford, curator of cartography at Royal Museums Greenwich, London

Megan Barford

Awarded £50,000 to build a collection of cartographic material concerned with forced migration

Addressing the displacement of people and the major crisis unfolding in the Mediterranean, and asserting Royal Museums Greenwich as an institution that is ready to engage with some of the most important challenges facing today’s world, Megan is working to build a collection of contemporary cartographical material concerned with forced migration.

Encompassing ephemeral material produced and exchanged between refugees, maps produced by border and coastal agencies and contemporary art which addresses forced migration through cartographic forms, the collection will offer a variety of perspectives and demonstrate how the partiality of maps plays out in this particular context. It will explore the fluid status of maps and charts – as works of art, as political tools, as pragmatic resources and as forms of memory and planning – and, in addressing the ethical and logistical complexities of collecting in this area, contribute to RMG’s understanding of contemporary collecting.

The award will enable Megan to build a collection that offers rich potential for related public programming and community engagement, and allow her to build on existing contacts such as the Migration Museum Project and Platforma Arts and Refugees Network as well as forge new ones, for example the Centre for Migration and Diaspora Studies at SOAS University of London.

Megan's mentor is James Lingwood, co-director of Artangel.

James Lingwood

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

Among his most well-known projects of the past 20 years are Rachel Whiteread's (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.

Bronwen Colquhoun, senior curator of photography at National Museum Wales

Bronwen Colquhoun

Awarded £65,000 towards collecting work by international photographers documenting life in the South Wales Valleys

Having identified an underrepresented period in Welsh collections, Bronwen is looking to collect work by international photographers who worked in the South Wales Valleys in the 1950s and 60s, often attracted by the rise and decline of heavy industry as a subject.

Images by photographers such as Robert Frank, Eugene Smith and Bruce Davidson have played a key role in the way Welsh culture and identity is documented and seen in a global context, and Bronwen will research and assemble works by American and European photographers from the period to enable the museum and its audiences to explore this influence.

She will also collect oral histories by photographers and the communities depicted with the aim of contextualising the images and providing a lasting legacy for the people of Wales concerning a significant period in the country’s history, told from multiple perspectives.

The award will aid Bronwen in acquiring significant photographic works at a time when photography has been identified as a key area of development for the museum, and as such feed into its overall collecting strategy. It offers the opportunity to engage with and build new audiences around the photography collections, and provides a foundation for future collecting to build on.

Bronwen's mentor is Brett Rogers, director of the Photographer’s Gallery.

Brett Rogers

Brett Rogers OBE is director of The Photographers’ Gallery, London, the first publicly funded Gallery dedicated solely to photography in the UK. Founded in 1971, it established early on a reputation for its independent approach to curating and its promotion of photography in all its myriad forms.

Now located in the heart of London’s Soho Quarter, the newly transformed building opened to the public in May 2012 continues to be recognized internationally as an innovator within the field of photography and the wider image economy. Before joining the Gallery in 2006, Brett was deputy director of visual arts at the British Council, where she was responsible for establishing the British Council’s Photography Collection and curating an ambitious programme of international touring exhibitions on British photography.

In 2013, her key role in developing the photographic field was recognized by University of the Arts London by appointing her a Visiting Fellow and in 2016 she was awarded a Honorary Doctorate by the University of the Arts (Norwich School of Photography). Brett was awarded an OBE for services to the arts in the Queen’s Birthday Honors in May 2014.

Mark Doyle, art gallery curator and collections manager at Touchstones Rochdale

Mark Doyle

Awarded £65,000 towards strengthening the gallery’s existing holdings of work by women artists

Touchstones has a strong history of showing and acquiring work by women artists. Mark will build on the gallery’s existing holdings in this area in two ways: by revisiting a seminal period in the gallery’s history (the 1980s and 90s) when it was under the stewardship of figures such as Lubaina Himid, Maud Sulter and Jill Morgan and retrospectively acquiring works by some of the key participating artists; and by acquiring work moving forwards.

The award will ensure that the opportunity to acquire through the gallery’s exhibition programme is not missed, as it was in the 80s and 90s, and enable Touchstones to acquire work during its upcoming two-year programme ‘Contemporary Forward’ (2017-19). The collecting project also provides an opportunity for Touchstones to reach new audiences through an engagement programme geared towards some of the most vulnerable sections of its local community, in particular young women.

The strengthened collection will also help Touchstones initiate new relationships and partnerships with other national and international organisations focusing on women artists, as well as with major collectors who could assist in making acquisitions and advocating for the programme.

Mark's mentor is Margot Heller, director of the South London Gallery

Margot Heller

Margot has been director of the South London Gallery for 15 years during which time she has curated an internationally acclaimed exhibitions programme and led the award-winning expansion of the gallery buildings and innovative education programme.

Prior to joining the SLG she was director of exhibitions at Anthony d’Offay Gallery following six years at Southampton City Art Gallery where she was curator and then director. Margot Heller served two terms on the Government Art Collection Committee, was made a Chevalier des Arts et des Lettres by the French Government in 2007 was awarded an OBE for services to the arts in 2014.

Louise Stewart, cross-collections curator at National Portrait Gallery, London

Louise Stewart

Awarded £40,000 towards developing a collection that sheds new light on portrait history

Focusing on portraits owned, exchanged and displayed by ‘ordinary’ people from the 15th century to the present day, Louise’s collecting project represents an intentional departure from past practice at the National Portrait Gallery, where the majority of the collection comprises paintings, sculpture, photographs and prints.

This collection will include portraits in a variety of media – such as needlework, wax, political tokens, currency, jewellery, wood carvings and film posters – and with varied functions, from propaganda to memorialisation, and as such contribute to a shift in the gallery’s collecting policy away from privileging sitters’ achievements and portraits created from life.

The award will allow Louise to increase the representation of women and BAME sitters and non-Western portrait practice in the NPG’s permanent displays, and to explore themes including changing ideas about identity, portraiture politics and reform, global perceptions of the British, the impact of cultural exchange on British portrait practice and the relationship between portraiture and celebrity.

Because of its unusual, varied and tactile nature the material collected is likely to be especially appealing to families and young people, and will feed into the gallery’s learning programmes, particularly in relation to history and citizenship.

Louise's mentor is Antonia Boström, acting director of collections and research at the V&A in London

Dr Antonia Boström returned to the V&A in January 2016 as keeper of sculpture, metalwork, ceramics & glass, having spent almost 20 years working in American art museums. She started her early museum career at the V&A, in the National Art Library and the Sculpture Department, and then worked in art publishing on the Grove Dictionary of Art, and as curator of the permanent collections of the Royal Academy of Art.

Having completed her PhD in 1996, she joined the European Sculpture and Decorative Arts Department at the Detroit Institute of Arts, where she co-authored the Catalogue of Italian Sculpture at the Detroit Institute of Arts (2003). In 2004 she moved to the J. Paul Getty Museum as Senior Curator and Head of the Sculpture & Decorative Arts Department and led the reinstallation of permanent collection galleries, the installation of the Fran and Ray Stark Collection of Outdoor Sculpture, and curated several exhibitions, including ‘Cast in Bronze: French Sculpture from Renaissance to Revolution,’ and ‘Messerschmidt and Modernity’. She moved to The Nelson-Atkins Museum of Art in Kansas City in 2013 as director of curatorial affairs before returning to London.

Antonia gained her undergraduate and PhD degrees from the Courtauld Institute of Art, and her dissertation focused on the collecting and display of Florentine Mannerist sculpture. She has published widely on sculpture, and is editor of the three-volume Encyclopedia of Sculpture (2004). She is the V&A nominated trustee to the Gilbert Trust and to Museums Sheffield. Since February 2017, Antonia has acted as the V&A’s liaison for provenance research and restitution and the National Museum Directors Council Spoliation Working Group representative for the V&A. From October 2017 she has been acting director of collections and research at the V&A.

Martin Goldberg, senior curator, early historic and Viking collections at National Museums Scotland

Martin Goldberg

Awarded £40,000 towards a research-driven collecting programme to deepen the museum’s understanding of its medieval Pictish holdings

Rather than purchasing new objects, Martin will use fieldwork research as the primary method for collecting at a defined list of sites where early medieval Pictish art has been discovered. In particular, his project will focus on Pictish art in silver and stone.

Pictish symbol-stones remain undeciphered, poorly understood and less studied than Christian sculpture, and the award will allow Martin to lead fieldwork in specific locations to learn more about the social context and development of these monumental forms of communication, and to proactively acquire objects that shed more light on artefacts already in the museum’s collection.

Many of these objects were poorly documented chance discoveries made during the 18th- to early 20th centuries and as such lack the archaeological context that is vital for understanding their significance; and many lie under-utilised in the museum’s current displays. This collecting programme will help answer questions about many of these artefacts for the first time, and deliver wider public impact through the redisplay of the Scotland galleries over the next decade.

Martin aims to demonstrate that professional, research-led investigation can provide an alternative narrative to the media focus on ‘finding treasure’, and hopes that a positive impact on public perception could lead to greater value being attached to the heritage sector and promote best practice for the future.

Martin's mentor is Chris Gosden, professor of European archaeology, University of Oxford

Chris Gosden undertook his doctorate on the Iron Age of central Europe, before moving to Australia and held a post-doc at the Australian National University and then his first lecturing job at La Trobe.

For the last 23 years he has been in Oxford, first as a curator-lecturer at the Pitt Rivers Museum and then as professor of European archaeology. Chris has carried out archaeological fieldwork in Papua New Guinea, Borneo, Turkmenistan and Britain, among other places. He is currently setting up a fieldwork project in Siberia.

While at the Pitt Rivers Museum, Oxford he worked on the history of collections and their relevance to post-colonial relations and identity, including two large projects – Relational Museum Project and a follow-up project on the English collections of the Pitt Rivers Museum called The Other Within.

More recently, he has run research projects on the history of the English landscape from the Bronze Age to the Domesday Book in the early middle ages and on Celtic art both in Britain and in Europe including Eurasian links. He is writing a book on the long-term history of magic. He is a trustee of Art Fund and a fellow of a number of learned societies, including the British Academy.

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 simultaneously 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, LGBTQ+ 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.