Tate has up to five fully funded AHRC Collaborative Doctoral Partnership (CDP) studentships to allocate each year. Details of new awards, funded by the Arts and Humanities Research Council (AHRC), are advertised on this website and elsewhere in the spring of each year.

Proposals for new studentships are made jointly by a member of Tate staff and a member of academic staff at a UK university. The deadline for proposals is the end of November for studentships to start in October of the following year. The scheme does not allow for applications directly from potential students.

Find out more about the scheme and hear about the experiences of some of our doctoral students in this short film.

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Tate welcomes proposals from academics to examine, or use as a starting point, any of the objects or artworks in our collection from any disciplinary perspective.

Applications are assessed by a panel with members drawn from universities and other cultural heritage organisations as well as Tate. The successful studentships are selected on their academic strengths and clear support for the organisation’s objectives and research strategy.

Current studentships

Browse the wide range of doctoral research projects currently happening at Tate

Past studentships

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

Commenced 2015

Kat Braybrooke

Hacking the Museum, Together: Peer-to-Peer Interactions at Shared Machine Shops in UK Cultural Heritage Institutions
University of Sussex
Supervised by Dr Tim Jordan, Head of University of Sussex School of Media, Film and Music, Dr Caroline Bassett, Director of University of Sussex Humanities Lab, and Dr Rebecca Sinker, Curator, Tate Learning

Louisa Hood

Family Learning in Art Galleries
The University of Exeter
Supervised by Professor Tim Coles, Dr Adrian Bailey, University of Exeter and Dr Emily Pringle, Head of Learning Practice and Policy Research, Tate

Commenced 2014

Tom Ensom

Technical Narratives: Method, Purpose, Use and Value in the Technical Description and Analysis of Software-Based Art
King's College London
Supervised by Dr Mark Hedges, Senior Lecturer in the Department of Digital Humanities, King's College London and Professor Pip Laurenson, Head of Collection Care Research, Tate

Acatia Finbow

The Value and Place of Performance Art Documentation in the Contemporary Art Museum
University of Exeter
Supervised by Professor Gabriella Giannachi, University of Exeter, and Dr Jennifer Mundy, Head of Collection Research, Tate

Amy Harris

Canonising British Sculpture: Sir Francis Chantrey and the Chantrey Bequest
University of York
Supervised by Professor Jason Edwards, University of York, Dr Greg Sullivan, Curator of British Art 1750–1830, Tate, and Dr Caroline Corbeau-Parsons, Assistant Curator of British Art, 1850–1915, Tate

LOUISA LEE

Discursive Sites: Text-Based Conceptual Art Practice in Britain
University of York
Supervised by Dr Jo Applin, Senior Lecturer in Modern and Contemporary Art, University of York, and Dr Andrew Wilson, Curator of Modern and Contemporary British Art, Tate

Louisa Penfold

Investigating the Value of Experiential Learning and Play in the Design of Learning Spaces for Young Children at Tate
University of Nottingham
Supervised by Dr Emily Pringle, Head of Learning Practice, Research and Policy, Tate, and Professor Pat Thomson, School of Education, University of Nottingham

Alison Wright

British Sporting and Animal Art, 1760–1840. A Critical History of its Production, Reception, Collection and Display
University of East Anglia
Supervised by Dr Sarah Monks, University of East Anglia, and Dr Martin Myrone, Lead Curator Pre-1800 British Art, Tate Britain

Commenced 2013

Hazel Atashroo

Creative Communities in Art and Design in the 1980s
University of Southampton
Supervised by Professor Jonathan Harris, University of Southampton, and Lindsey Fryer, Head of Learning, Tate Liverpool

Helena Bonett

Barbara Hepworth: Practice, Interpretation, Legacy
Royal College of Art
Supervised by Dr Claire Pajaczkowska, Senior Research Tutor, School of Material, Royal College of Art, Dr Victoria Walsh, Head of Programme, Curating Contemporary Art, Royal College of Art, and Dr Chris Stephens, Curator (Modern British Art) & Head of Displays, Tate Britain

Amy Concannon

The ‘Unnatural’ Landscape: Visualisation of the Urban Scene 1800–50
University of Nottingham
Supervised by Nicholas Alfrey, Associate Professor in Art History, University of Nottingham, Steven Daniels, Professor of Cultural Geography, University of Nottingham, Dr David Blayney Brown, Curator (British Art 1790–1850), Tate

James Finch

David Sylvester: Art Writings
University of Kent
Supervised by Professor Martin Hammer, University of Kent, and Dr Jennifer Mundy, Head of Collection Research, Tate

Judith Lee

Modern British Oils: History, Formulation and Use
Courtauld Institute of Art
Supervised by Professor Aviva Burnstock, Head of the Department of Conservation and Technology, Courtauld Institute of Art, and Dr Bronwyn Ormsby, Senior Conservation Scientist, Tate

Nicola Sim

Circuit: Investigating Partnerships between Visual Arts and Youth Organisations
University of Nottingham
Supervised by Dr Emily Pringle, Head of Learning Practice, Research and Policy, Tate, and Professor Pat Thomson, School of Education, University of Nottingham

Commenced 2012

Lina Džuverović

Hybrid Practices: Interdisciplinarity and Pop Art Sensibilities in Yugoslav Art in 1960s and 1970s
Royal College of Art
David Crowley, Professor and Head of Programme Critical Writing in Art & Design, Royal College of Art and Jessica Morgan, Curator, Tate

Oliver Peterson Gilbert

The Sites of Cultural Production and Impact of British Art and Design Communities Associated with Pop 1956–1974
University of Southampton
Supervised by Professor Jonathan Harris, University of Southampton, and Lindsey Fryer, Head of Learning, Tate Liverpool

Sofia Gotti

Counterculture in Pop: South American Art in the 1960s
University of the Arts, London
Dr Michael Asbury, University of the Arts, London, and Jessica Morgan, Curator, Tate

Commenced 2011

Thomas Ardill

Between God, Art and Mammon: Religious Painting as Public Spectacle in Britain c.1800–50
Courtauld Institute of Art
Supervised by David Solkin, Professor of the History of Art, Courtauld Institute of Art, and Dr Martin Myrone, Lead Curator Pre-1800 British Art, Tate Britain

Ayesha Ghanchi

A Critical Analysis of Artists’ Engagement with Learning Programmes at Tate 1970–2010, as Documented in Tate’s Education Archive
Goldsmiths, University of London
Supervised by Emily Pringle, Tate Learning, and Dennis Atkinson, Professor of Art in Education and Head of the Research Centre for Arts in Learning at the Department of Educational Studies at Goldsmiths, University of London

Isabella Maidment

Performance, Action, Event
University College London
Supervised by Briony Fer, Professor of Art History, University College London, and Catherine Wood, Curator of Contemporary Art and Performance, Tate

Rachel Rose Smith

The International Context of the Art of St Ives 1948–60
University of York
Supervised by Dr Michael White, Senior Lecturer in History of Art, University of York, and Dr Chris Stephens, Head of Displays, Tate Britain

Ioanna Zouli

Digital Tate: The Uses of Video in the Construction of Audiences
London South Bank University
Supervised by Andrew Dewdney, Professor of Educational Development, London South Bank University, Victoria Walsh, Tate Research, and Jane Burton, Head of Content and Creative Director, Tate

Commenced 2010

Wendy Asquith

Haiti in Art: Creating and Curating in the Black Atlantic
University of Liverpool
Supervised by Dr Dmitri van den Bersselaar and Professor Charles Forsdick, University of Liverpool, and Lindsey Fryer, Head of Learning, Tate Liverpool

Hayley Flynn

Landscape in Blake: Visionary Topographies
University of Nottingham
Supervised by Professor Nicholas Alfrey, University of Nottingham, and Dr David Blayney Brown, Curator, Tate Britain

Sabina Gill

Fotografia Polska: Adventures in Polish Photography since the 1960s
University of Essex
Supervised by Professor Margaret Iversen, University of Essex, and Dr Simon Baker, Curator (Photography and International Art), Tate

Cora Gilroy-Ware

The Classical Nude in Romantic Britain
University of York
Supervised by Professor Elizabeth Prettejohn, University of York, and Dr Martin Myrone, Curator, Tate Britain

Robert Sutton

Henry Moore: Sculpture and Media in Twentieth-Century Britain
University of York
Supervised by Dr Michael White, University of York, and Professor Anne M. Wagner, The Henry Moore Foundation Research Curator, Tate

Stephen Vainker

Experiences and Engagement: An Investigation of Young Persons’ Visits to ARTIST ROOMS on Tour
University of Exeter
Supervised by Dr Adrian Bailey, University of Exeter, and Dr Emily Pringle, Head of Learning Practice, Research and Policy, Tate

Victoria Young

Art Museum Attendance and the Public Realm: The Agency of Visitor Information in Tate’s Organisational Practices of Making the Art Museum’s Audience
London South Bank University
Supervised by Professor Andrew Dewdney, London South Bank University, and Dr Victoria Walsh, Head of Adult Programmes, Tate Britain

Commenced 2009

Elena Crippa

When Art Schools Went Conceptual: The Development of Discursive Pedagogies and Practices in British Art Higher Education in the 1960s
The London Consortium
Supervised by Professor Nigel Llewellyn, Head of Research, Tate

Caroline Good

The Making of a National Art History: British Writers on Art and the Narratives of Nation 1660–1735
University of York
Supervised by Professor Mark Hallett, University of York, and Professor Nigel Llewellyn, Head of Research, Tate

Marion Martin

Tragic Hope – Sentiment and Critique in the Art of J.M.W. Turner
University of Leicester
Supervised by Dr Matthew Potter, University of Leicester, and Dr David Blayney Brown, Curator (18th and 19th century British Art), Tate

Alex Massouras

The Emergence of the Emerging Artist in London, 1960–2010
The London Consortium
Supervised by Professor Nigel Llewellyn, Head of Research, Tate

Peter Moore

British Graphic Art, 1660-1735: An Atlantic Perspective
University of York
Supervised by Professor Mark Hallett, University of York, and Dr Martin Myrone, Lead Curator, pre 1800 British Art, Tate

Stephanie Straine

Drawing Strategies in the 1960s and 1970s
University College London
Supervised by Professor Briony Fer, University College London, and Dr Mark Godfrey, Curator (Contemporary Art), Tate

Lynn Wray

Art, Process and Propaganda on the Political Left
Liverpool John Moores University
Supervised by Dr Alison Rowley, Professor Juan Cruz, Liverpool John Moores University, and Dr Christoph Grunenberg, Director, Tate Liverpool

Commenced 2008

Susannah Gilbert

Latin American Art in an International Context
University of Essex
Supervised by Professor Dawn Ades, University of Essex, and Tanya Barson, Curator, Tate

Commenced 2007

Bryony Bery

Replicas and Reconstructions: Case Studies in Twentieth-Century Art
University College London
Supervised by Professor Briony Fer, University College London, and Dr Matthew Gale, Head of Displays, Tate Modern

Corinna Dean

Establishing Tate Modern Cultural Quarter
London School of Economics
Supervised by Professor Robert Tavernor, London School of Economics, and Donald Hyslop, Head of Regeneration and Community Partnerships, Tate

Alex Hodby

Tate Modern and the Expansion of ‘New Institutionalism': New Developments in Art and Public Programming Practices
Goldsmiths, University of London
Supervised by Bernadette Buckley, Goldsmiths, University of London, and Dr Marko Daniel, Curator (Public Programmes), Tate

Commenced 2006

Caroline Donnellan

Establishing Tate Modern: Vision and Patronage
London School of Economics
Supervised by Professor Robert Tavernor, London School of Economics, and Dr Victoria Walsh, Head of Adult Programmes, Tate

Ali MacGilp

The London Art Market and the Formation of a National Collection at Tate 1926–1950
University of Reading
Supervised by Dr Anna Gruetzner Robins, University of Reading, and Robert Upstone, Curator (Modern British Art), Tate

Seph Rodney

Two Rooms: Locating the Meeting Place of the Visitor and the Museum
Birkbeck, University of London
Supervised by Dr Gordon Fyfe, Birkbeck, University of London, and Dr Marko Daniel, Curator (Public Programmes), Tate Modern

Commenced 2005

Rob Knifton

Centre of the Creative Universe: Liverpool and the Avant-Garde
University of Liverpool
Supervised by Professor Jim Aulich, University of Liverpool, and Dr Christoph Grunenberg, Tate

Philippa Simpson

The London Art Market, 1790–1815: The New Exhibition Culture and the Staging of the British School
Courtauld Institute of Art
Supervised by Professor David Solkin, Courtauld Institute of Art, and Martin Myrone, Curator (18th & 19th century British Art), Tate

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 research@tate.org.uk.