Partnerships
Since 2013 we have developed a growing number of strong partnerships with arts organisations across Greater Manchester and beyond. These include:
July 2024
Each year, a number of bespoke scholarships are awarded to graduating students from the University of Salford School of Arts, Media, and Creative Technology, through a scheme led by The University of Salford Art Collection in partnership with Castlefield Gallery. This year we are delighted to welcome fine art products company Wallace Seymour as a partner in the scheme, supporting a new Painting Scholarship.
Aiming to support graduates to begin their careers in the art sector, each 12-month award includes a tailored package of support which can include: studio space, mentoring, coaching, research trips, and a bursary for materials, equipment or research travel.
For the 2024 cohort we are pleased to announce Grecia Balassone, India Buxton, Iqra Saied, Jess Robinson and Robin Standring. Find out more about each artist below.
“The Scheme has supported over 50 artists across 10 years, and it has been a joy to see each artists’ practice and career develop over time. The standard of applications was as high as ever this year and is always a difficult choice. However we are delighted to welcome Grecia, India, Iqra, Jess and Robin this year and look forward to supporting them. We are also particularly grateful for Wallace Seymour for sponsoring the scheme this year, and taking part in the selection process” – Assistant Curator, Stephanie Fletcher
Grecia Balassone
Grecia is from the BA (Hons) Fine Art degree, and will be recieving a studio placement at Paradise Works.
“I am a multidisciplinary artist, experimenting with a range of ways to tell the stories surrounding a subject. Due to my lived experiences of immigration, neurodivergence, and developmental trauma, my work explores themes of identity, nostalgia, community and belonging.
My research approach is immersive. I like to understand the themes I work with from first-hand experience, or the closest to that I am possibly able to get. I find people to be a great source of information, and with stories worth telling. I am also interested in preservation (of history, memories, media, processes), which leads me to create my own archives.”
India Buxton
India is also from BA (Hons) Fine Art, and has earned the Wallace Seymour Painting Scholarship.
“My practice is interested in exploring the representation and depiction of ancient folklore and mythology in the 21st century. My work draws upon the theories of ancient Greek Philosopher Plato and the ancient stories of their time. The figurative paintings reappropriate old stories into a new visual language that a modern audience can find their own narratives within. These paintings display my chosen stories, which are then modernised into personification of moral fables.“
Iqra Saied
Iqra is from BA (Hons) Photography and will be one of the first to be given a studio placement at Castlefield Gallery New Art Space in Warrington.
“Portrait photography is a powerful medium to explore ideas of culture, identity and engage in contemporary debates. ‘Unfamiliar’ starts from my own personal experience of dual heritage.
As a British Pakistani, I feel closer to my home in Manchester than I do to Pakistan and these feelings are often difficult to navigate. I have collaborated with Hafsah, Caitlin and Rohan who resonate with the project and understand the sense of guilt associated with not knowing enough about the other place. The photographs aim to communicate the difficulty in building a sense of belonging with a place you have no knowledge of. However, accepting who you are is the best journey of self-discovery. I hope people of dual heritage will find inspiration to embrace their identity and celebrate their heritage.”
Jess Robinson
Jess comes from the Visual Communication MA, and will be given a studio placement at Islington Mill.
“My current work now draws upon an interest in ancient eastern philosophy and spirituality that provides a refreshing contrast to modern, western values. Using predominantly black and white photography, I am producing imagery which attempts to visualise hidden moments of balance and moments of presence within the live music scene, against the chaos of movement and sound. These images sit alongside my own immersion and connection to natural spaces as an anti-dote to the chaos, finding a common ground and relationship between the two settings. My hope is that through practicing a mindful and connected approach to my creative process, I can step out of conditioned patterns and follow a more intuitive path.”
Robin Standring
Robin comes from BA (Hons) Fine Art and will be using the facilities at Hot Bed Press.
“My practice revolves around exploring my own identity, primarily the experiences and interactions I have as a transgender individual, focusing on the aspect of being ‘stealth’ within society today. Being ‘stealth’ in the terms of being transgender, is to live as the gender you identify with but not being openly out as trans, something many trans individuals do in order to avoid discrimination.
Through the use of an avatar affectionately named Baghead which I have created in my own self-image, I insert him in a variety of environments and scenarios, often mundane, in which almost everyone experiences, regardless of their race, gender or class; such as waiting for the bus, falling asleep on the train or even standing outside during a fire alarm.”
Left to right: Lindsay Taylor, Sam Parker, Sean Rorke, Jessica Bennett, Elliott Flanagan, Robin Standring, Jess Robinson, Iqra Saied
Image Courtesy of Helen Wewiora, Castlefield Gallery
Last Tuesday we got together with our associates at Castlefield Gallery and the directors of both Hot Bed Press and Paradise Works to have a look at what our Graduate Scholars had been up to in their new studios. We had 2 presentations, 1 from Iqra Saied on her new space at the Castlefield New Art Spaces in Warrington, and the other from India Buxton who unfortunately couldn’t join us in person. Then visited Robin Standring, Jess Robinson, and Grecia Balassone’s studios respectively at Hot Bed Press, Islington Mill, and Paradise Works.
We also had the new Graduate Scholar liaison who will be their point of call for questions about the programme and whatever else they may wish to discuss. This is our previous Graduate Scholar whom we have exhibited twice in the past year at the New Adelphi Exhibition Gallery; Elliott Flanagan.
Iqra Saied
Iqra has made excellent use of her space so far, acquiring some photography equipment, and figuring out what processes and other pieces of equipment she might need to better develop her practice. Iqra has also secured quite a bit of experience in the past few months:
- Participating in a Creative Content course hosted by HEADS at the Factory Academy – covering ways of working with brands and creatives in Manchester.
- Becoming a rehearsal assistant for the production of ARK, United States, performed by Laurie Anderson.
- Undertaking many freelance working opportunities with brands, organisations, and creative collectives.
- Conducting shoots with different ideas of culture and place in mind – with artists in Iqra’s new studio, and with others.
We look forward to seeing how Iqra continues to develop her practice over the next year – whether it be through professional practices, experimental techniques, or something entirely new!
Image courtesy of Iqra Saied
India Buxton
Although India couldn’t join us on the day, she did send in a presentation and a video of her current studio space. India is currently maximizing the use of her new flat, exploring this new area and the culture it has – she is aiming to use this new place as a new starting point to continue pushing her practice forward.
India has been developing her practice, looking into colour theory in her work, as well as delving into more research surrounding local heritage both in and out of Manchester; applying for opportunities, going on research trips, and taking commissions onboard. All of this while maintaining the themes of Greek mythology an philosophy through her work; sewing the fates and other elements of her work into each piece developed.
India’s research into philosophy (currently reading Alain De Botton’s The Consolations of Philosophy) is also informing her practice contextually as well as physically through her work. Moving to a new place, the local area has changed, it is different than home. No longer a student at university, India is using this to explore this transition in life and location.
India is also currently a part of 2 exhibitions – one of which is the 20:20 print exchange run by Hot Bed Press; so keep a lookout if you’ve taken part as you may receive one! And the other being The Omnipotence of Dream featuring students from the University of Salford, Leeds Art University, Angela Tait, Jeffrey Knopf, David Hancock, and many others. This show is open until the end of February 2025, pop by if you can.
Robin Standring
Robin has been experimenting with a variety of different mediums – screenprint, textiles and stitching, spray paint, paint pens, photography, digital work, and a lot more. Using his studio at Hot Bed Press to the fullest, Robin’s studio is full of print work, inspiration, and plenty of visual intrigue for us to look at.
Robin then talked us through his process from ideas to creation, along with the context behind it – bouncing ideas and possible research avenues between us all. Whether it be an exploration of self in the every day hustle and bustle of life – or through loves for football that has been a constant through his upbringing and continues to play a vital role now. Telling us of LGBTQIA+ teams for official clubs that people can join to feel safer and to get into the sport; providing support and a healthy environment for all.
We spoke a lot about mental health and ways of working on Tuesday, with all of the scholars present – whether it be support and help with direction within their practices, or methods and processes to help get the ball rolling. We all struggle with knowing what to do next, having too many ideas and not knowing where to start – having a blank page in front of you and unsure which thought to put to page. Our curator Lindsay, Elliott, Gass and Helen from Castlefield, Sean from Hot Bed Press, and Jess from Paradise Works all provided their insight and support to our Scholars; offering a hand when needed. Talking about their own practices, relating moments they have had, and how they overcame them – knowing each story is invaluable to a new graduate, who can then form their own way of working strong going forward.
We’re expecting plenty of work on the walls next time we visit Robin, and we can’t wait to see what direction his work takes!
Jess Robinson
Jess has never had a proper studio space before, and was full of ideas when first moving in. Wanting to move away from traditional photography and its aesthetics, Jess has already begun experimenting with what photographs are, why we are drawn to certain images, and how an image can be developed after being captured.
Brimming with ideas, Jess told us about all of her current work on the go – bouncing between digital photography, analogue photography, cyanotypes, mixed media with paint, collage, and methods of display. Jess showed us a new line of work that she has been working on with paint over images, creating pockets of photographs within a heavily textured surface – making the viewer delve closer to the work to discover the image within.
We again spoke to Jess, with others weighing in on focus within an art practice, how to move forward when we have so many ideas, or narrowing down from so many images – best practice for experimenting and creating work whilst struggling with going through the motions. Jess’ experiments combining different mediums together is a testament to the drive that she has – saying that rather than overthinking and waiting for all the blocks to be in place, she has begun to just create when an idea strikes; using the materials available and just cracking on. It doesn’t have to be perfect, as nothing is, but we can still find beauty in unexpected places. Jess has also chosen to do more creative writing, as a way to connect herself and contextualize concepts and stories behind her work – we all agreed that this creative writing might be the key to deciphering more about her and her practice moving forward.
We again wish Jess the best and look forward to seeing what wonderful things emerge during her time on the Graduate Scholarship Programme.
Grecia Balassone
Grecia was also unfortunately not available, but on the day provided us with a 25 minute video in which they told us what they had been up to, opportunities that they had, and explaining the different processes and background to their current work. Grecia also provided us some chocolate as a gift upon entering their studio – we all sincerely thank you for this Grecia.
Whilst looking at Grecia’s work in their studio, we all listened to what they had to say about it – the thoughts, the feelings, and the stories from earlier in their life about security, exploring the self, and the struggles that they are going through. Grecia’s video was heartfelt, informative, and extremely brave – no cuts, no edits, just a raw explanation of passion and drive. What has gone well, what has gone not so well, current research themes, current experiments that whilst Grecia was talking about we could see in the studio and further inspect; it was honestly a really great way of doing it whilst not being there in person. It was almost like an Easter egg hunt as they brought up an artwork only for Jess from Paradise Works to find it and for us all to then admire it.
Grecia’s work and research into traditional craft practices and the continued loss of these practices is an interesting theme running through, especially in the North West of England where we have the Canals that used to transport goods from various industries, the textile mills from Manchester up to Nelson and across the North, and all the handcrafted ways of working that are slowly receding from view. Grecia tells us about their home country, and how they did not take the time to learn these traditional skills whilst there, and the passion that they now have to preserve these skills; to learn them and to spread awareness about these beautifully crafted trades.
We spoke about possible avenues of research for Grecia, including perhaps travelling to some older mills that haven’t been converted yet, or to contact some organisations (like Super Slow Way, or insitu) that work a lot with preserving the memory and culture that these industries made.
As with all of our scholars, we very much look forward to how Grecia continues to expand their practice and delves more into these traditional ways of working; bringing them to the forefront.
This day was a great way to get to know what our newest scholars have been up to , with their practices, their lives, what’s going well, and what they might need support with. Our associates from the other organisations providing input and new ways of viewing things was extremely useful for the scholars, and we hope that they all got as much out of it as we did.
We’d like to thank Iqra, India, Robin, Jess, and Grecia for allowing us into their studios, and talking to us about everything and anything. We know great things will come from each of them over this next year, and we wish them the best in all they do.
Many thanks to those who attended to discuss and feedback to our scholars: Lindsay Taylor and Sam Parker (UoS Art Collection), Matthew (Gass) Pendergast and Helen Wewiora (Castlefield Gallery), Elliott Flanagan (Artist), Jessica Bennett (Paradise Works), and Sean Rorke (Hot Bed Press).
Abandon Normal Devices (AND) Festival, Manchester.
Co-commissioned Liam Young’s Where the City Can’t See with AND and St. Helen’s Heart of Glass.
We are programme partners for AND Festival 2020.
Castlefield Gallery, Manchester.
The Art Collection run the Graduate Scholarship Programme and co-commissioned the exhibition by Ruth Barker and Hannah Leighton-Boyce with Castlefield Gallery.
In 2019, we co-commissioned Everything I Have Is Yours by Eileen Simpson and Ben White.
Image: Courtesy of Jules Lister
Donely is a fibre artist specialising in rug-tufting using vegan materials. Wavy Lady is a hand-tufted rug inspired by a stewarding fellowship Donely undertook in 2019 at the 58th Venice Biennale, through the British Council. The work depicts a woman, hanging upside down, in the foetal position, tufted in various shades of blue. She represents vulnerability and the emotional experience of ‘falling in love with unfamiliar places; with atmospheres, with experiences, with strangers… the fleeting nature of these floating away in the water as quickly as they appeared’.
“Alena Donely’s practice has gone from strength to strength since graduating and completing her Salford Scholarship. The transition from university to being independent can be very challenging, with many adjustments including sourcing access to space and equipment. Through Alena’s own resourcefulness and dedication she has her built up her fully equipped workshop from where she can work on an ambitious scale and welcome people from all over the country and from overseas for her workshops and sharing of skills and experience.
The combination of the physicality of the heavy pneumatic tufting gun and the soft and colourful work it produces is not lost on Donely or the experience of her work. The tactile balance of the cold and the soft speaks of the expression of conflicting emotions. The roots of Donely’s practice flow from a personal place, drawing from her own mental health and telling her own story, whilst sharing works and a practice that is ever-accessible for others to engage and be inspired to both read and share their own experiences.
Donely’s welcoming and generous spirit of sharing has not stopped at the doors of her own studio – since taking on her own space at Islington Mill she has been an engaged member of the community, extending to her active involvement in the long-term security and future of the studios for others to come.”
~Rachel Goodyear, Co-director at Islington Mill
Image: Courtesy of Sam Parker
Wavy Lady, 2020
Hand-tufted rug in acrylic and linen yarn
Alena Ruth Donely (2018/19)
The work reflects contrasting notions of ‘holding on’ and ‘letting’ go as a constant presence in the artists life, in a practice that draws on modern existentialism, experience of mental illness, trauma, and self-soothing – as well as being ‘unapologetically technicolour, playful and emotive’. She describes the object of the rug as an ‘island of play’ as a child – a place of storytelling, emotional connection and a comforting nostalgia.
Image: Courtesy of Jules Lister
Donely has exhibited work in group shows at Castlefield Gallery, Salford Museum and Art Gallery, HOME, and The Whitworth. She has also collaborated with Salford Lads and Girls Club, and made new work for the reopening of Rochdale Town Hall. Still based at Islington Mill, Alena now runs the Manchester Tufting Workshop, delivering commissions, workshops, courses and private tuition; as well as running collaborative sessions with the public at events including The Manchester Contemporary, 2023 and We Invented the Weekend, 2024.
Adekola was born in 1983. He is a Nigerian artist currently living in Manchester. His work is informed by post-colonial narratives, through painting, installation, and drawing, he uses elements of contemporary and historical material to explore themes of migration, globalisation, identity politics, equality, diversity, and inclusivity. He has exhibited work internationally including in London and Nigeria.
“It was a real joy to spend time with Suraj during his time on the Scholars programme. Perhaps more importantly it was great to see his work and thinking develop. His recent series of works The Treasure (2024) made with Adire (tie-dye) fabric, spray paints, and oil sticks on canvas retain the attitude of the first works that I saw by him but they also display an evolving sense of confidence in the way he is working with his mix mediums. I look forward to seeing him continue to be as ambitious with his work in the future, as I’m sure he will be.“
~Matthew Pendergast, Curator at Castlefield Gallery
We Should All Be Blacks 6, 2022
Mixed Media
Suraj Adekola (2022/23)
This work is part of a series titled We Should All Be Blacks, which Adekola began during his 2022 MA studies. The artist uses the traditional ‘Adire’ fabric as the foundation of the work – a popular indigenous tie-dyed fabric made in his hometown of Egbaland, Abeokuta (the ‘capital of Adire-making’ in Nigeria). The artist deconstructs, fragments, weaves and stitches the material together, creating vibrant forms and patterns inspired by Cubism. On the surface he uses spray paint, oil stick, and bleach to draw figurative and abstract motifs. This stitching together of fragmented forms and varied mediums symbolises a deep-seated desire for belonging and inclusion, ‘mirroring the Black experience – a tapestry woven from diverse threads’. The work and material are imbued with personal narrative, memories, cultural references, and celebrates art as a way to share Black histories.
Centre for Chinese Contemporary Art (CFCCA), Manchester. This partnership is multi-faceted and includes numerous commissions and acquisitions, shared events programme, student live briefs, shared research trips, co-curated exhibitions such as Harmonious Society (Asia Triennial Manchester 2014/ATM14), and the evolving Asia Research Network for Arts and Media (ARNAM) partnership with Manchester Metropolitan University and Manchester University.
Want to know more about our Artists in Residence at Energy House 2.0? In this special edition of Talking Salford Podcast, both Mishka Henner and Emily Speed talk about their practices, projects, careers, and the work they are doing in collaboration with Energy House 2.0!
Available on your preferred Podcasting platform, or on YouTube at the link below!
Talking Salford S2E11 – Energy House 2.0’s Artist in Residence Special – Mishka Henner & Emily Speed
The Energy House 2.0 Artist Residencies are hosted in partnership with Open Eye Gallery, Liverpool and Castlefield Gallery, Manchester.
Both residencies have been made possible through funding from the Friends of Energy House 2.0 Community: energyhouse2.salford.ac.uk/friends-of-energy-house-2-0/
Friday 27th September 2024
6 – 8 pm
esea contemporary
Free to attend | Booking recommended
Our partners at esea contemporary are holding an exhibition preview for Steph Huang’s There is nothing old under the sun, featuring a new co-commission with the University of Salford Art Collection.
In this new exhibition, Huang continues her investigation into mass production and commerce, the transcultural and historical dimensions of the food industry, and the implications of such markets on our natural environment. Using a variety of manual techniques, Huang transforms everyday spaces and objects, resulting in minimalist sculptures and poetically charged installations of quiet resonance.
The exhibition is generously supported by MTSA and Arts Council England. Exhibition catalogue supported by the Henry Moore Foundation. Co-commission supported by the University of Salford Art Collection.
FACT (Foundation for Art and Creative Technology), Liverpool.
This includes a co-commission with Ryoichi Kurokawa in 2016.
Forma, London.
Co-commissioned and produced Song for Armageddon by Nick Crowe and Ian Rawlinson, in association with BALTIC Centre for Contemporary Art and supported by Arts Council England.
To coincide with the celebration of Harold Riley’s life through the Every Line Is Me exhibition at Salford Museum and Gallery (April 2024 – April 2025) we have installed 4 works from the University of Salford Art Collection in The Old Fire Station Bakery this Summer.
Harold Riley work on display in The Old Fire Station.
Right to left: St Luke’s Church, Seedley (1975), charcoal and chalk. City Motorway (1977), pastel over lithography. Building by the Railway, Trafford Park (1976), chalk pastel. View of Manchester from Salford (1975), gouache and chalk.
Photographed by Sam Parker.
Artist Harold Riley was born in Salford in 1934. After studying at the Slade School of Art, London, and undertaking scholarships in Spain and Italy, he returned to Salford and lived and worked here until his passing in 2023. He dedicated much of his practice to documenting life in Salford and Greater Manchester – from both everyday urban streetscapes to portraits of local sporting stars – particularly at Manchester United FC. Further afield, he also achieved success with portraits of Nelson Mandela, John F Kennedy, and other important public figures.
The University of Salford Art Collection holds more than 100 paintings, drawings, and mixed media artworks by Riley, including local landscapes that capture the changing skylines of Salford and Manchester for over 60 years. Some places, views, and landmarks are still visible today; whilst others have been lost over time to new developments and regeneration.
Do you recognise the locations of City Motorway or View of Manchester from Salford? Get in touch with us by email or Instagram! Photograph it, tag us, let us know how these places have changed over the years.
The 4 works are on display at the Old Fire Station until the end of July 2024. We have also loaned a number of works to the display at Salford Museum & Art Gallery; please visit their website for opening times.
Haven’t visited the Old Fire Station Bakery yet? It’s the newest venue on campus, open to staff students and the public. The cafe, bar and bakery serves speciality coffee, homemade breads and bakes, and a delicious breakfast and lunch menu – including sustainable and locally-sourced options. From 4pm you can also enjoy craft beers, pop-up kitchen vendors, and a range of events from quizzes to live music. Visit the Bakery website for more info and full opening times!
Every Line is Me, Salford Museum & Art Gallery – opening night.
Photographed by Sam Parker.
“Bringing together all of Harold’s many disciplines and subject matter including painting, drawing, digital fusions, and photography. It tells the story of the man, showing works that portray places and people that were important to him. There are quotes from the artist that help illustrate the person Harold was, the legacy that he leaves behind, and the strong connection he had with the City of Salford.“
Every Line is Me at Salford Museum and Gallery celebrates Riley’s life and includes several loans from the University of Salford Art Collection (open 19th April 2024 – 27th April 2025; see Museum for full opening days and times).
HOME, Manchester.
University of Salford is a founding partner of HOME. The Art Collection team co-commissioned The Most Cruel of all Goddesses by Declan Clarke as part of the inaugural exhibition in 2015, including a special screening and artist talk. In 2016, we co-commission It’s What’s Inside That Counts (2016) by Rachel Maclean. We support the co-commission of The Scar, a fiction film installation by Noor Afshan Mirza and Brad Butler, in 2018.
Hot Bed Press, Salford. Hot Bed Press are partners in the Graduate Scholarship Programme and were exhibition partners for PRINT UnLtd.
Islington Mill, Salford.
The University partners with Islington Mill in many ways. The Art Collection Team have supported Islington Mill’s capital project and the Mill is a partner in the Graduate Scholarship Programme.
The Lowry, Salford.
Art Curator Lindsay Taylor co-curated the 2015/16 the Lowry exhibition Right Here, Right Now and the gallery borrowed 4 works from our collection for the exhibition. Narcia Fitting out at the Tyne, 1968, by L.S. Lowry, from our collection, was loaned to The Lowry (in 2017) for their permanent exhibition LS Lowry: The Art & The Artist .
Mark Devereux Projects (MDP), Salford: The Art Collection team supported the MDP StudioBook project including running a commissioning competition, won by Mandy Payne in 2017.
Open Eye Gallery, Liverpool.
Lindsay Taylor guest curated the Culture Shifts: Global exhibition as part of the LOOK/17 Liverpool International Photography Festival. For the LOOK/17 festival Open Eye Gallery and the University of Salford Art Collection co-commissioned Window (Day 2): Room 118, Titanic Hotel, Stanley Dock, Regent Road, Liverpool, 2017 and Wall: Room 118, Titanic Hotel, Stanley Dock, Regent Road, Liverpool, 2017 by Luke Ching. Open Eye Gallery were exhibition partners for the PRESENCE: A Window into Chinese Contemporary Art(February – June 2018) and as a legacy from this exhibition the Art Collection and Open Eye Gallery, along with Liverpool City Council, co-commissioned work by Liang Yue, which exhibited as part of This is Shanghai (July – September 2018).
Lindsay Taylor co-curated Peer to Peer as part of the LOOK Photo Biennial 2019.
Paradise Works, Salford. Partners in the Graduate Scholarship Programme.
Quays Culture, Salford. A number of public realm commissions took place between 2013 and 2016 including Aeolian Light . The Art Collection supports the Northern Artist Film Commission (2016 & 2019) and the winning work from the ‘new commission’ category in 2016, One Square Mile by Chris Paul Daniels and Sam Meech has entered our collection. The 2019 winner Homage to the Rain will also enter the collection following its premier at the Lightwaves light festival in December 2019.
Salford Museum and Art Gallery, Salford. The Art Collection have an ongoing working relationship with Salford Museum and Art Gallery, which forms part the strategic work with Salford Community Leisure (who operate the Museum and Gallery) through our joint Memorandum of Understanding signed in December 2017.
Since 2017, the following partnership exhibitions have taken place at the Museum and Art Gallery:
- What’s in Store? (May – November 2017): an exhibition, showcasing work from the University of Salford Art Collection.
- PRINT UnLtd. (May – October 2018): an exhibition by Salford Museum and Art Gallery and Salford Community Leisure in partnership with University of Salford Art Collection and Hot Bed Press. Funded by Arts Council England: Grants for the Arts.
- Acquired: a century of collecting (November 2018 – June 2019): an exhibition exploring artworks from Salford Museum and Art Gallery and the University of Salford collections.
- Everything I Have Is Yours, Eileen Simpson and Ben White (Open Music Archive (July – November 2019): Film and sound work that looked back to the first decade of the UK pop charts (1952-62) Commissioned by Film and Video Umbrella, the Contemporary Art Society, University of Salford Art Collection and Castlefield Gallery through ‘Equal Shares’ 2019.
Supporters
Art Fund: have supported a number of acquisitions including the Albert Adams Collection, Cao Fei’s La Town and Yang Yongliang’s Mountains of Crowds.
Arts Council England are a strategic partner.