Alison Smith
It has been a rewarding journey for the National Portrait Gallery since their closure in spring 2020 when they launched the project Inspiring People. The project, designed by Jamie Fobert Architects, comprised a complete re-presentation of the Collection in conjunction with a significant refurbishment of the building, the creation of public spaces, a more welcoming visitor entrance and public forecourt, and a new Learning Center.
Ahead of this key moment for the institution, we're pleased to speak with Chief Curator Alison Smith, to hear about the Gallery’s transformation and upcoming exhibitions.
The National Portrait Gallery will reopen to the public on 22 June 2023. Book your free ticket now to guarantee entry.
Phillips: Tell us about your background and your role at the National Portrait Gallery. What does the institution mean to you?
Alison Smith: I have been at the NPG for over 5 years. Prior to this I was Lead Curator, British Art to 1900 at Tate Britain. As Chief Curator I oversee the work of the Curatorial and Collections departments which cover a range of activities from acquisitions and curating exhibitions and displays to collection care and conservation. When I tell people that I work at the NPG, I often receive the response, “that is my favorite gallery!” and this must be because the NPG is fundamentally about people, by which I mean the people who have shaped our society and culture over time, hence its broad appeal to visitors from all backgrounds.
P: Tell us a bit about the transformation the National Portrait Gallery has undergone since closing for renovation in Spring 2020?
AS: Our Gallery’s doors closed in March 2020 and since then we have undergone the most extensive redevelopment in our history, embracing every part of the building from the entrance to the galleries themselves. During this time we have completely redisplayed the collection from the Tudors through to the present day. Before we closed we had just under 900 portraits on display, but by the time we reopen there will be over 1000 portraits beautifully presented in our newly refurbished spaces.
P: How does it feel to see the collection in the space once again?
AS: It feels familiar and yet different at the same time. Our rehang remains chronological but it’s more thematic than before so visitors can understand and appreciate the historical context in which portraits were made. We’ve also introduced special “Making” galleries which speak to the art of portrait-making, including panel painting, miniatures, prints, and early photographic techniques. The galleries feel much lighter and more welcoming than before; the wall colors have been carefully chosen to complement the works on display and we have introduced digital and AV features at various points to allow visitors to explore particular portraits in greater depth.
P: How did the NPG keep the community engaged through the closure. Has that informed future initiatives?
AS: During closure we managed to keep in touch with our audiences through our national partnerships and skills sharing program which made parts of the collection available through projects that ranged from the Tudors to Bloomsbury portraits. We also had a number of exhibitions touring internationally, including Icons and Identities and Love Stories. Some of our most famous historic portraits such as Holbein’s Whitehall Cartoon went on loan to the National Gallery next door and we were also able to maintain contact through digital and on-line initiatives, key of which was the Hold Still project that kept audiences captivated during Covid.
P: Are there any upcoming exhibitions at NPG that you are particularly excited for?
AS: We have a very exciting exhibitions program scheduled all the way through to 2027. In the short term, I am excited to see the Yevonde and Paul McCartney photographs exhibitions that foreground two very different figures: one a renowned society photographer who transformed portrait photography through color; the other an icon of British pop whose photographs offer an intriguing insight into life behind the scenes during a defining period in the life of the Beatles.
P: Do you have a favorite portrait in the collection?
AS: I have many favorites, it all depends on my mood from one day to another. I have recently been spending time in our wonderful and jewel-like miniature gallery so am going to select the fascinating portrait of Sarah Biffin. She was a woman born without arms or legs but through her talent developed a long and successful career as an artist. She travelled extensively, took commissions from royalty and we are lucky to have recently acquired her own exquisitely detailed self-portrait.
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