The Art Trade Forum offers emerging curators, arts professionals and researchers the chance to see the London art trade at work and explore the practices and processes of acquiring art for public collections

2022 Programme

Group portrait of twelve participants and two convenors The inaugural Art Trade Forum programme brought together twelve participants from a variety of backgrounds.

Day one was divided into two parts. The first covered the various ways curators can find funding and support from Arts Council England and Art Fund to acquire new artworks through infrastructures such as the Acceptance in Lieu scheme, Cultural Gift scheme, V&A Purchase Scheme, and the National Lottery Project Grants among others. The second part was a series of visits to Mayfair-based art dealers who will illustrate the different models of dealing art; working directly with artists, buying, owning and selling works of art and consigning artworks, as well as the ways that art dealers work with and interact with institutional collecting policies.

Day two looked at the role of the auction house and how curators can interact with them. This ranged from the process of researching and attributing artworks, to working with auction houses to navigate offers. It also explained how to integrate auction houses into collection and acquisition strategies.

On Day three we visited Strawberry Hill House, where we heard about how the museum’s collection has been developed using the strategies and schemes explained on day’s one and two.

More details about the 2022 programme can be found in the PDF document at the bottom of this page.


Alyson Lai

Alyson has held positions in research, advertising, communication and art direction. She is currently Associate Editor for the peer-reviewed department journal, Aspectus, and works as a college advisor at York University’s graduate college where she gives talks aimed at non-specialists on different periods of art history. She is a first year PhD candidate in the History of Art Department at the University of York, and her research is supported by the departmental scholarship.

Amy Lim

Amy is a volunteer curator at the Stanley Spencer Gallery, where she curated Mind and Mortality: Stanley Spencer’s Final Portraits and is currently curating the Gallery’s 2022/23 winter exhibition. She has published articles and essays on British art and architecture in the Georgian Group Journal, First World War Studies and Furniture History, among others. She recently completed her PhD, Art and Aristocracy in Late Stuart England in a Collaborative Doctoral Partnership with the University of Oxford and Tate, where she contributed to the exhibition British Baroque: Power and Illusion.

Aurella Yussuf

Aurella is a founding member of the interdisciplinary art collective Thick/er Black Lines, whose work has been exhibited at Project Row Houses, Tate Modern and Tate Britain, and Somerset House. She has worked for eight years as an independent writer and researcher with a focus on the work of Black contemporary artists. Her writing has been published by Artsy Editorial, Frieze, Hyperallergic, RA Magazine and other contemporary art publications. Aurella is currently completing her PhD in the department of art history and visual studies at the University of Birmingham.

Corinna Henderson

Corinna is currently Assistant Curator at Temple Newsam house, was previously curatorial trainee at the National Gallery and was awarded a Venice Biennale Research Fellowship by the British Council in conjunction with Birkbeck University. Corinna’s research interests focus on revealing lesser-known narratives within collections, and she has presented a paper at the National Gallery’s Women in the Arts Forum 2022: Women Artists and the National Gallery on Rebecca Dulcibella Orpen’s practice. Corinna recently completed her MA, where her dissertation focused on amateur women copyists in the nineteenth and early twentieth century.

Danielle Ban-Arie

Daniella has co-curatd Thomas Hope: Regency Designer which was shown at V&A and Bard Graduate Centre and edited the accompanying catalogue. She was the lead researcher and contributor to The Reconstruction of the Lansdowne Collection of Classical Marbles. In addition her work has appeared in scholarly publications including Yale University Press, Libanus Press and Hirmer. She is an independent scholar, writer, researcher and curator who focuses on the history of collection and patronage of works of art over the past three hundred years.

Eliza Goodpasture

Eliza has held positions at the Frick Collection, Guggenheim Museum and Bowdoin College Museum of Art. She is currently editor in chief of Aspectus: A Journal of Visual Culture¸ a peer-reviewed postgraduate journal of the History of Art department at the University of York. Eliza is a PhD candidate at the University of York, where her research focuses on the centrality of friendship to the artistic practices of artists who were women around the turn of the twentieth century in England. Her research has been supported by the Paul Mellon Centre, the Association for Art History, the British Association for Victorian Studies and Graduate Women International.

Gorvan Vuković

Goran is a doctoral candidate at the Warburg Institute in London, working on a dissertation on art, humanism, architecture and politics in Renaissance Ragusa (Dubrovnik). He has had work published in academic journals, magazines and newspapers. Goran has interned at the French Ministry of Culture’s Direction du Patrimoine and with UNESCO experts Daniel Lefevre and Bernard Fonquernie, and followed this with a role as a documentation specialist for the Archaeological Museum, Narona. He has participated in international conferences and workshops and has been a guest lecturer at the Faculty of Architecture in Zagreb and the Yale Summer Sessions at the Inter-University Centre, Dubrovnik.

Izabella Gill-Brown

Izabella is currently an installation conservator at the National Portrait Gallery. Professionally, she has worked on a variety of artworks and has more recently contributed work to The Greener Solvents Handbook: An Introductory Guide. Izabella is also a PhD candidate in the history of art department at the University of York. Her research is entitled Lost in Translation: Sculptural Narratives of Queen Victoria’s Indian circle and examines the relationships and roles of nineteenth-century Anglo-Indian sculptural portraits produced for the British royal family.

Leah Tharpe

Leah is an accredited independent fine art appraiser for institutions and individuals across the United States, primarily for California and Western Art. She consults for Copley Fine Art Auctions as fine art specialist in sporting and wildlife art, compiling and cataloguing hundreds of fine art works for two auctions each year. She is a second-year PhD researcher at the University of York.

Marta Marsicka

Marta is a researcher, art historian and curator based in the Midlands. She is currently working as Artist Coordinator at BACKLIT gallery, and conducting a PhD study at the University of the Arts London. In her research and practice, Marta explores the notions of East-Central European representation and migration. She was the only migrant awardee of the British Art Network’s (BAN) Emerging Curators Group bursary (2020–2021), is a regular contributor to their online platform and was awarded a Developing Your Creative Practice Grant by Arts Council in 2021.

Silvia Davoli

Silvia is research associate at Oxford University and Curator at Strawberry Hill House. She is also Associate Editor of the Journal of the History of Collections and is currently working on a book based on her doctoral research which will be published by Brill Publications next year.

Svetlana Panova

Svetlana is currently the Curator and Project Coordinator for Jerwood Art Fund Makers Open, as well as a museum assistant at Aberdeen Archives, Gallery and Museums. Her roles include involvement with curation and artist support, programme delivery, exhibition installation and collections care. She was previously general assistant at Grampian Hospitals Art Trust. Svetlana has an undergraduate degree in contemporary art practice from Gray’s School of Art, Aberdeen.