Columbia Threadneedle Prize 2016

The Selectors

Richard Cork
An award-winning art critic, historian, broadcaster and exhibition curator, Richard Cork now writes for the Financial Times, The Guardian and a wide range of magazines in Britain and abroad. He is also Art Critic at the New Statesman. A frequent contributor to BBC radio and television programmes, he has organised major exhibitions at Tate, the Hayward Gallery and the Royal Academy. He has acted as a judge for many leading art prizes and commissions, among them the Turner Prize.

Angela Flowers
Today’s renaissance in British contemporary art owes much to gallery owners like Angela Flowers, who championed the cause in the Sixties and Seventies. Angela used her first Soho premises to introduce new, exciting artists, along with senior, established artists who deserved wider appreciation. Successful shows launched or relaunched the careers of Tom Phillips, Derek Hirst, Boyd & Evans, Patrick Hughes and many others. Today, Angela is Chairman of Angela Flowers plc with galleries in London and New York.

Hew Locke
Hew Locke is a mixed-media sculptor whose work blurs the boundaries between drawing, sculpture and installation. Born in Edinburgh, Hew grew up in Guyana, influencing his style and themes of working. Hew has installed works at the V&A Museum, London and on the façade of Tate Britain. He has shown in numerous group and solo exhibitions in London and New York and his work is in several prestigious collections. His next solo exhibition opens at Rivington Place, London in September 2008.

William Packer
William Packer writes for the Financial Times where he was principal Art Critic until 2004. He has served on several advisory bodies, notably the Crafts Council and the Government Art Collection Committee, as well as on many exhibition selection panels, notably the John Moores and the Hunting Art Prizes. William trained as a painter at Wimbledon School of Art and has continued as a painter, first exhibiting at the Royal Academy in 1963.

Brian Sewell
As addicted to art as others are to alcohol and nicotine, Brian Sewell has been the Art Critic of the Evening Standard for a quarter of a century, the sad end of a once promising career, his many prizes for criticism and journalism scant consolation to a man who earlier enjoyed life as a scholar gypsy. The Arts and British Councils, the Royal Academy and the Royal Collection have all at some time given him employment. For amusement he writes with equal expertise on old motor cars, on opera and on the three rescued dogs who share his life.

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