Photograph of some members of the Reshaping the Collectible project team, standing in a line against a white wall in a gallery at Tate Britain

Some members of the Reshaping the Collectible project team in 2018, from left to right: Christopher Griffin, Bergit Arends, Sarah Haylett, Hélia Marçal, Kit Webb, Pip Laurenson, Lucy Bayley, Susannah Worth, Stephen Huyton

Professor Pip Laurenson

Head of Collection Care Research and Project Lead

Pip’s role as Project Lead for ‘Reshaping the Collectible’ builds on nine years as Head of Collection Care Research at Tate, directing research into new models for collecting and conserving performance, film, video and software-based art. She received her doctorate from University College London, is an accredited member of the Institute for Conservation and holds a special chair as Professor in Art, Collection and Care at the University of Maastricht in the Netherlands. Pip is committed to interdisciplinary research that serves and responds to the art of our time, and to exploring what it means for a contemporary art museum to be a research organisation.

Dr Lucy Bayley

Post-Doctoral Researcher

Dr Lucy Bayley is the project’s Post-Doctoral Researcher. Recently awarded a doctorate for a thesis exploring audiences and exhibitions at London’s Institute of Contemporary Arts (1949–1986), she also lectures at Sotheby’s Institute. From 2007 to 2013 she was the Curator of National Programmes at the Contemporary Art Society, and has previously worked at Drawing Room, Serpentine Galleries, Matt’s Gallery and PEER. Interested in histories of exhibitions and cultural institutions, Lucy’s research on the project starts from a mapping of Tate’s history of collecting, examining moments of change as a dialogue between that artwork and the collection.

Christopher Griffin

Collection Research Manager

Christopher oversees the online publication of a wide range of research texts – from short summaries on individual artworks to peer-reviewed articles in Tate Papers – working with Tate curators, conservators and external specialists, including academics, students and artists. As part of the ‘Reshaping the Collectible’ project team, he is exploring different ways of disseminating research findings and is particularly interested in forms of publishing that allow practice-based research to be critically articulated.

Sarah Haylett

Archives & Records Management Researcher

Sarah received her MA in Archives and Records Management from UCL in 2011 and has previously worked at the British Library, Zaha Hadid Architects, The Photographers’ Gallery, and most recently as Archivist and Collection Manager for a private art collector in London. Sarah will be researching how Tate’s institutional records and archive capture the life of an artwork in the contemporary art museum. Looking beyond a culture of compliance, she is interested in how this information can be presented to audiences and more effectively support research and collecting practice. She will also provide records management guidance to the project team.

Stephen Huyton

Collection Registrar, Research

Stephen is the project’s Collection Registrar, Research, and is embedded as a researcher within Tate’s Acquisition and Long Loan Registrar team. He has been working in the field of museum registration since 2014, most recently as Assistant Collection Registrar for ARTIST ROOMS (Tate and National Galleries of Scotland), working with its international collection of modern and contemporary art. Stephen’s research focuses on Tate’s collection management, documentation and registration working practices, and will look at how particularly challenging artworks question the institution’s notions of status, classification and collectability.

Dirk van de Leemput

PhD Candidate

Dirk is a collaborative doctoral student working between Tate and Maastricht University, whose research focuses on precarity in the social-material networks of technology-based artworks.

Dr Hélia Marçal

Fellow in Contemporary Art Conservation and Research

As Fellow in Contemporary Art Conservation and Research and a researcher embedded within Tate’s Time-based Media Conservation team, Hélia’s role combines research into theory and practice. She has been working on the conservation and exhibition of performance-based art since 2011, having received her PhD in Conservation and Restoration of Cultural Heritage from NOVA University of Lisbon in 2018. Her research looks into conservation practices at Tate with a feminist epistemological lens while exploring issues of performativity, participation, partiality and positionality.

Ellen Pavey

PhD Candidate

Ellen received her BA and MA in History of Art from the Courtauld Institute of Art and was a 2017/18 Helena Rubinstein Curatorial Fellow at the Whitney Museum of American Art Independent Study Programme. Her research, ‘Making the Invisible Visible in the Contemporary Art Museum’, will explore how we might communicate the ‘behind the scenes’ processes and hidden networks of care that unfurl in the life of an artwork and what this transparency affords the museum and its audiences.​

Kit Webb

Research Manager

Kit provides organisational and research support to the project, coordinating the public events and workshops, the Visiting Fellowship programme, and communication about the research both on- and offline.

Susannah Worth

Digital Editor, Research

As Digital Editor, Susannah manages the research section of Tate’s website and supports the online publication and communication of research materials, including Tate’s research journal Tate Papers.

Head and shoulders portrait photo

Haidy Geismar was the project’s first Senior Academic Fellow. Her fellowship ran from September 2019 to January 2020.

Haidy is a Professor of Anthropology at University College London, a curator of the UCL Ethnography Collections and Co-director of the UCL Centre for Digital Anthropology. Her research expertise lies in collaborative museum practice, indigenous museologies and indigenous contemporary art (Vanuatu and New Zealand).

The fellowship supported the development of longer-term projects, including an edited volume on impermanence. Haidy’s engagement with Reshaping the Collectible also prompted new writing, working on a paper that takes three core terms for the project – participation, social networks and decolonisation – and explores how they might be seen from inside one of the case studies.

Haidy’s fellowship closed with the convening of a talk for Collection Care staff. The event brought together four members of Te Maru o Hinemihi, a pūkenga, or specialist board of advisors established to raise awareness and support the conservation of Hinemihi. Hinemihi is a traditional Māori meeting house from Te Wairoa, Aotearoa (New Zealand) and now at Clandon Park in Surrey, England.

Through their talk, Samantha Callaghan, Anthony Hoete, Dean Sully and Haidy discussed how the group could be understood as a strategy of care, working within different structures (whether the National Trust Friends organisation, or those from Aotearoa). A discussion followed about the lessons that could be drawn from their work for contemporary art conservation.

Haidy’s UCL profile provides more background on her research and previous publications.

This fellowship is made possible by a grant from The Andrew W. Mellon Foundation.