Project

British Art Network

The British Art Network is a Subject Specialist Network bringing together professionals working on British art including curators, researchers and academics, reflecting the combined strength of the UK’s public collections and curatorial expertise in this field

a group of people sit at a desk and look down at some pieces of paper

The aim of the British Art Network is to contribute to the sharing of expertise, research and ideas across museums, galleries and academic institutions in the UK. This is supported through a variety of networking opportunities both on and offline. Membership to the network is always open and free, and it includes the following activity:

  • An online register of expertise in British art
  • An electronic newsletter circulated to members four times a year
  • Four seminars each year hosted by Tate or partner organisations on themes relating to British Art
  • A dedicated network group for Early Career Curators specialising in British art
  • Network sub groups that explore specific areas of British art and are led by regional network members across the UK

The network focuses on British art from the sixteenth century to the present day with a broad remit, covering painting, sculpture, installations, graphic art, performance, photography, film, etc. Seminar themes are drawn from current research activities, scholarly interests and future exhibition projects proposed by the network members. Some events offer opportunities to showcase developmental projects while others address topics of broader public interest. By joining up curatorial and collection research across a wide range of members’ organisations in the UK, the network fosters an environment where knowledge, skills and ideas, as well as programmes and collections, can be shared.

Latest events

Watts Gallery Talk

British Art Network: Artists as Reformers in Britain c.1850–1914

30 Oct 2017

This seminar will explore how Watts and other British artists projected their aesthetic authority into social and political fields

National Galleries Scotland Conference

British Art Network: 19th Century Landscapes

14 Sep 2017

A free British Art Network Seminar organised by Tate Britain and National Galleries Scotland

FREE

Past events and audio

Our newsletters

The British Art Network circulates a newsletter three times a year, to keep members informed of upcoming events and opportunities relating to British art. The newsletter covers aspects of network activity alongside relevant external exhibitions and events, opportunities and scholarly articles.

Read the latest newsletters

Register of expertise

The register of expertise is a database of professionals engaged with British art. The register is designed to enable the exchange of knowledge and expertise, and facilitate contact between those with common interests or areas of research.

Download our register of expertise

BRITISH ART NETWORK SUB GROUPS

British Art Network Sub Groups focus on specific topics of British art. The programmes of activity are led and hosted by network members. The Sub Group initiative is designed to enable British Art Network members, who work within specialist subject areas, to come together and continue conversations and collaborations beyond one-day network events. Membership to the Sub Groups is open to British Art Network members, who have a professional research interest or specialism in the group subject area.

BRITISH WOMEN ARTISTS, 1750–1950

Gwen John, ‘Self-Portrait’ 1902
Gwen John
Self-Portrait 1902
Tate

The British Women Artists, 1750–1950 Sub Group is led by the University of York and will focus on women’s artistic productivity in a variety of mediums. It has been established because, during the last two decades, a number of feminist scholars and curators have stressed and deplored the neglect of and sought to make more visible the work of British women artists of this period, but there is still a relative lack of knowledge about these women compared to their male counterparts which forms a barrier to the display of these women’s works. The Sub Group is founded on the belief that what is needed in order to understand the integral roles of these women in artistic developments is sustained knowledge exchange between University-based scholars and museum/gallery based curators/researchers.

Further information

BRITISH MURAL PAINTING, 1600–1750

Sir James Thornhill, ‘A Ceiling and Wall Decoration’ c.1715–25
Sir James Thornhill
A Ceiling and Wall Decoration c.1715–25
Tate

The British Mural Painting 1600–1750 Sub Group is led by Historic Royal Palaces focusses on the work of British mural painters, and continental artists working in Britain, employed to decorate the palaces and country houses of the late 17th and early 18th centuries. This subject remains poorly documented and misunderstood and the grand baroque schemes of artists such as Verrio, Laguerre, Chéron, Lanscroon, Thornhill and Kent have been neglected and even covered up, replaced by more fashionable interior decoration, or destroyed completely. The immovable nature of those mural schemes that survive has also meant that researchers working in this field have been inevitably tied to particular locations, divorced from a wider pool of academic collaboration. The Sub Group is led by Brett Dolman for Historic Royal Palaces, Dr Lydia Hamlett at the University of Cambridge and Dr Richard Johns at the University of York.

Contact information

  • For further information about the Sub Group and to enquire about joining events, please contact Brett Dolman, Curator (Collections) Historic Royal Palaces, Hampton Court Palace, Apt 25, Surrey KT8 9AU brett.dolman@hrp.org.uk

SCULPTURE IN BRITAIN, C.1850–C.1930

James Havard Thomas, ‘Lycidas’ 1902–8
James Havard Thomas
Lycidas 1902–8
Tate

The Sculpture in Britain Sub Group is led by Amgueddfa Cymru – National Museum Wales, for those with a professional or specialist interest in British sculpture c.1850-c.1930. Spanning the Victorian ‘Age of Empire’ until post World War I, the group will explore different schools of thought and technique from neo-classicism to the New Sculpture movement. A wealth of sculpture from this prolific era now exists in British collections but receives little of the attention it deserves.

With increasingly few sculpture specialists in museums, the need to exchange expert knowledge and research is ever greater. As well as outlining the historical importance and value of such collections, the group aims to address some of the practical issues and challenges of working with them. It is an opportunity to share current projects, ideas and concerns, as well as gaining a window into sculpture collections from across the UK.

Contact Information

  • For further information and to enquire about joining the Sub Group, please email Dr. Anne Pritchard, Senior Curator, Historic Art, Amgueddfa Cymru – National Museum Wales, at anne.pritchard@museumwales.ac.uk.
  • Amgueddfa Genedlaethol Caerdydd – National Museum Cardiff, Cathays Park, Cardiff, CF10 3NP

British Landscapes

Samuel Jackson Avon Gorge at Sunset c. 1825

Samuel Jackson
Avon Gorge at Sunset c. 1825
Bristol Museum & Art Gallery, inv.no. K5051

This Sub Group is dedicated to British landscape art – with a particular emphasis on the period 1800–1850. The group’s activities’ will reconsider the history of landscape art in Britain in the context of 19th century scientific discoveries, the rise of photography and reshaping of aesthetic ideas. Beyond Thomas Gainsborough, John Constable and JMW Turner only relatively few and selected images by the artists who shaped the cultural scene outside London between 1800 and 1850 found their way into national and metropolitan collections and therefore into the art historical canon of British landscape. The Sub Group will investigate landscape from a regional perspective using examples in Bristol and Ipswich, but equally from other schools or groups of artists around the country.

We hope to attract interest from curators responsible for similar collections and specialists seeking innovative approaches to the study 19th century landscape. We would like to raise questions and develop activities that will be transferable to the study of British landscape art in general.

The first event will take place on 24 July 2017 at Bristol Museum & Art Gallery dedicated to the relationship of early 19th century geology and landscape art in Britain.

The Landscape Sub Group is led by Jenny Gaschke at Bristol Museum & Art Gallery in collaboration with Emma Roodhouse, Colchester & Ipswich Museums.

Contact Information

  • For further information and to enquire about joining the Sub Group, please contact Jenny Gaschke, Bristol Museum and Art Gallery Bristol Museum & Art Gallery jenny.gaschke@bristol.gov.uk

British Drawings

Joseph Mallord William Turner (1775–1851) from Grand Canal and Giudecca Sketchbook

Joseph Mallord William Turner (1775–1851)
from Grand Canal and Giudecca Sketchbook (D32117–D32137; D32178; D41533-D41534; complete) Venice: The Grand Canal from the Traghetto di San Felise, with Ca'Corner della Regina and Ca'Pesaro on the Left 1840
Graphite and watercolour on paper
support: 222 x 324 mm
on paper, unique
Accepted by the nation as part of the Turner Bequest 1856

The focus for this network is the study of British drawings, defined in the broadest terms of medium and chronology. It aims to stimulate discussion, to foster productive collaborations between curators, academics, researchers and practitioners and to capitalise on new interest in what is proving to be a growing area of research and scholarship within UK museums, galleries and universities.

Plans are underway for a series of workshops, the first of which was held at Tate Britain on 21 June. This focussed on topographical drawings, exploring current strategies of research, interpretation, collecting and access. A further three workshops will be held in Birmingham, London and Manchester over autumn 2017 – Spring 2018.

Contact Information

  • The group is led by Amy Concannon, Tate Britain amy.concannon@tate.org.uk with Jessica Feather, Paul Mellon Centre and Victoria Osborne, Birmingham Museums Trust

Black British Art

Lubaina Himid Naming the Money 2004

Lubaina Himid
Naming the Money 2004
Installation view of Navigation Charts, Spike Island, Bristol 2017
Courtesy of the artist, Hollybush Gardens, and National Museums, Liverpool
Photo: Stuart Whipps

The University of Bristol and Spike Island (Bristol) in conjunction with Modern Art Oxford and Nottingham Contemporary, have established a British Art sub-group to focus on the area of Black British Art since 1945. The group responds to, and supports, networking and audience engagement around a series of recent and ongoing exhibitions that explored key figures and moments in the development of ‘black art’ in Britain. These include the series of exhibitions that took place in early 2017 across Spike Island and Modern Art Oxford to explore the practice of Lubaina Himid and a wider ranging exhibition on the Black Arts Movement of the 1980s that began at Nottingham Contemporary before moving on to the Middlesbrough Institute of Modern Art.

The Black British Art network is organising a one day networking event at Tate Britain in September 2017 in order to discuss the relationship between exhibitions, collections, and audiences in the context of ‘black art’ in Britain.

Contact Information

  • The group is led by Dr Dorothy Price (University of Bristol) and Helen Legg (Director, Spike Island). If you are interested in joining the group please contact Dr Elizabeth Robles (University of Bristol) haekr@bristol.ac.uk

Contemporary art in Scotland

Catherine Street Hidden Physical 2015

Catherine Street
Hidden Physical 2015
HD video, 28 min 24 sec. Featured as part of the installation Muscle Theory

There is a rich history of modern and contemporary art in Scotland, yet there are many stories that remain still to be researched and told, with various artistic, curatorial and collective projects and practices at risk of being overlooked by established critical and historical frameworks. The Contemporary Art in Scotland Sub Group aims both to unite and initiate these new histories of contemporary practice. Our primary objective is to provide a structure for research-driven collaboration and exchange between academics, artists and curators. In particular, we seek to draw links between the focused historical material being generated by curators and researchers in relation to marginalised, alternative and oppositional artworks, broader histories of contemporary art production, and current artistic practices.

The group’s first event will be structured around the theme of ‘Scottish identity and Transnationalism’. Future themes for examination include new media and technology; installation and performance; and institutional networks and deviations from them.

Contact Information

  • The Sub Group is led by Dr Sam Rose, Dr Stephanie O’Rourke and Dr Catherine Spencer from University of St Andrews. If you have a specialist interest in Contemporary Art in Scotland and would like to enquire about joining the Sub Group, please contact Dr Sam Rose, Lecturer, University of St Andrews sper@st-andrews.ac.uk

CONTACT US

Please let us know if you are interested in becoming a member of the British Art Network or in joining the Register of Expertise. Interest can be registered by emailing BritishArtNetwork@tate.org.uk.