Tate hosts a growing number of doctoral students engaged in research at Tate. Students work at Tate in a variety of ways, gaining professional experience and contributing their ideas and knowledge to Tate’s programmes and projects.

Funded by the Arts and Humanities Research Council (AHRC), the Tate Collaborative Doctoral Partnership scheme offers fully funded studentships for study towards a Doctoral degree. Successful candidates are jointly supervised by subject specialists at both their Higher Education Institute (HEI) and at one of the 25 museums, libraries, archives or heritage organisations that make up the CDP Consortium.

Tate has up to three AHRC Collaborative Doctoral Partnership (CDP) studentships to allocate each year. Details of new awards are advertised on this website and elsewhere in the spring of each year.


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Proposing new studentships

This year’s competition is currently closed for expressions of interest. This page will be updated with further information as opportunities arise in 2025. If you have any queries about the studentships programme at Tate, please email studentships@tate.org.uk.

current opportunities

Past studentships

See a list of projects by past collaborative doctoral students at Tate, ordered chronologically by year of commencement.

Further information about Collaborative Doctoral Partnership studentships is available on the Collaborative Doctoral Partnerships website.

To discuss possible research collaborations or projects with Tate, please email studentships@tate.org.uk.

Current studentships

  • Anya Smirnova

    Net Art East: Networks, Art and New Media after 1989

  • Hattie Spires

    Revisiting Rhapsodies in Black: British Art and the Harlem Renaissance, 1919–1939

  • Vanessa Arias Bujia

    Digital Engagement with Visual Art in the 21st Century Museum: A Case Study of Tate

  • Grace Hanrahan

    Surface Attached Gels for the Removal of Synthetic Varnishes from Sensitive Acrylic Paints

  • Sarah Haylett

    Documenting Socially Engaged Art: New Forms of Archival Practice in the Contemporary Art Museum

  • Maddy Gilliam

    How Does a Gallery Education Programme Adapt to Support Teachers with the Arts During a Pandemic?

  • Dirk van de Leemput

    The Maintenance of Technologies in Time-based Media Art

  • Inga Fraser

    Towards Artists’ Moving Image? Film Art and Paracinema, Britain 1906–1939

  • Caroline Anjali Ritchie

    Visionary Mapping in the Work of William Blake

  • Ego Ahaiwe Sowinski

    Conjunctural Encounters and Legacy in the Archive: The Life, Works, Mobilities and Philosophy of Ronald Moody

  • Hassan Vawda

    Religion, Secularism and Muslims in Britain and the British Art Museum: Is There a ‘Religious Literacy’ to be Considered in Strategy, Audiences and Programming?

  • Janine François

    In What Ways Does Art in the Museum Context Provide a Safe Space to Ask Difficult Questions around Culture and Race?

  • Stella Toonen

    Challenging Ways of Working: the Impact of Co-creation Projects on Museum Practice

  • Rhian Addison

    Landscape Artists’ Studios in the Age of Exhibitions, London, 1780–1850

  • Amina Diab

    A Transnational History of Modern Art in Egypt: Flâneuses et flâneurs des deux mondes

  • Jessie McLaughlin

    Queering Curatorial Learning Practice: Enhancing Access for Young and Diverse Audiences within the Art Museum

  • Roxy Minter

    Picturing Whiteness: Raced Representation in the National Collection of British Art, 1700s – Now

  • Ellen Pavey

    Making the Invisible Visible in the Contemporary Art Museum

  • Andrew Cummings

    Strange Encounters in Contemporary Art from East and Southeast Asia, 1990–Present

  • Katy Norris

    Women as World Builders: Female Artists, Feminism and Social Reform Movements in Britain 1890–1928

  • Patricia Falcão

    Artists, Conservators and Game Developers: A Comparative Study of Software Preservation in Three Domains

  • Ann Coxon

    International Textile Art from 1960 to 1979

Find out more