The Second Hand: Reworked Art Over Time has been organised by the students on the MA Curating the Art Museum programme at The Courtauld Institute of Art, in collaboration with the Arts Council Collection, Southbank Centre, London.

Students of the MA Curating the Art Museum 2014/2015:


Caledonia Armstrong

Franka Blok

Clare Brody

Kelsey Corbett

Coralie Malissard

Alexandra Olczak

Amy Parrish

Sarita Patnaik

Alethea Rockwell

Rose Thompson

Juliette Wallace

Margaret Weller


The Second Hand has been generously supported by Ernst Vegelin van Claerbergen, Head of the Courtauld Gallery, and the staff of the Courtauld Gallery have provided much advice and assistance. We would particularly like to thank curators Barnaby Wright, Karen Serres, Stephanie Buck, and Rachel Sloan for their guidance and encouragement; registrars Julia Blanks and George Mogg for practical advice; Graeme Barraclough and Jack Kettlewell for installation expertise; and Kate Edmondson for framing on a tight schedule.

The Arts Council Collection has been an important lender and the exhibition has benefited greatly from Jill Constantine’s support and Shona Connechen’s logistical help. We are grateful to Jake and Dinos Chapman and White Cube Gallery as well as to Melanie Smith and Galerie Peter Kilchmann for demonstrating faith in our project by lending to the exhibition.

We would like to thank John Johnson of Lightwaves for his expert guidance on lighting, Blackwall Green for affording insurance coverage, and White Wall and Clive Pitcher of EMS for art transport and installation. We are grateful to Arijana Zeric for designing this catalogue and to Imaginear for generously helping us create the audio tour. We would also like to recognize the support of Farrow & Ball who donated the gallery wall paint.

This exhibition is a product of the close relationship between The Courtauld Gallery and The Courtauld Institute of Art. We would like to thank tutors Elisabeth Reissner, Minnie Scott, Katie Scott, and Giles Waterfield for advancing our knowledge of the history, theory, and practice of museum work. Above all, we are indebted to Martin Caiger-Smith, Head of the MA Curating the Art Museum, for his unfailing commitment to the realisation of this exhibition and to our development as curators.

This exhibition has been generously supported by Farrow & Ball.