I had a chat with renowned art historian and curator, Jo Baring. Jo is a passionate advocate for making art accessible to everyone and equally for supporting emerging artists, a mission she champions through her work as Director of The Ingram Collection, her critically acclaimed podcast series "Sculpting Lives," and her insightful writings for national publications and museums. With an impressive background that includes a former directorship at Christie's UK and judging prestigious art prizes, Jo brings a wealth of knowledge and a fresh perspective to the world of art. Her dedication to fostering a love for art in all is truly inspiring.
Jo in her home with her personal collection of art
How is it you were drawn to the arts?
I’ve always been captivated by the power of visual storytelling. From a very young age, I was drawn to art, and not just in museums and galleries. I remember seeing the modern art in Chichester Cathedral as a child (including work by Marc Chagall) and just finding it extraordinary. Whenever I visit Pallant House Gallery in Chichester (another of my favourite places to see art) I always visit the Cathedral. At the moment they have an Elisabeth Frink sculpture on display there, lent by Pallant House Gallery.
Details of the stained glass window designed by Chagall within Chichester Cathedral
I was there just a few weeks ago when I went to visit Pallant Gallery, it’s a really incredible cathedral and Chagall’s work is so vibrant and dynamic.
Would you say you specialise in modern and contemporary art and has that always been the case?
Yes, I do specialise in modern and contemporary art but that has not always been the case. I did history at university, and I think that bringing in a wider viewpoint is essential when looking at art. But when I went on to postgraduate research I was drawn to modern art - partly because of how artists in this era question social norms, push boundaries, and reflect rapid cultural change. That dynamic energy continues to inspire my work today.
How did you come about working at Christie’s?
After my academic studies, Christie’s was a natural next step. It offered the opportunity to engage directly with extraordinary artworks and collectors, and to understand how the art world functions commercially and culturally. Working there gave me a deep appreciation for connoisseurship, provenance, and the broader ecosystem that supports artists and institutions alike.
Tell me about the Ingram Collection.
The Ingram Collection is one of the UK’s leading collections of Modern British and contemporary art. Founded by Chris Ingram, the collection is built around the idea that art should be accessible and relevant. What makes it truly special is our commitment to social purpose — we don’t just collect and conserve; we use the collection as a platform for education, debate, and opportunity. That ethos — especially our strong support of emerging artists — is what drew me to lead the Collection and what continues to drive me.
Ingram Prize 2024 Installation view at Unit 1 Gallery ǀ Workshop, November 2024. Image courtesy The Ingram Collection © Phil Adams
And supporting emerging artists is something that you’re obviously very passionate about. How did you get interested in this area specifically?
Supporting emerging artists is absolutely central to what I do. I believe it's not about discovering ‘the next big thing’, but about giving talented artists the space, recognition, and opportunities they need to grow. That includes commissioning work, offering residencies, and awarding our annual Ingram Prize, which we launched to champion new graduates from UK art schools. My interest stems from a belief that contemporary voices need amplifying — especially in a time when the arts are under threat from funding cuts and institutional challenges.
Is the emphasis on artists having a formal art education an intentional directive?
Jo at Christies BADA (British Antique Dealer’s Association) private view
The Ingram Collection is a charity with a very small team, and we are determined to keep the Ingram Prize free to enter. This means that we have only one rule for entry and that is that artists must have graduated from a UK based art school within the last five years. The Ingram Prize came out of buying from fine art degree shows.
What is your day-to-day like at the Ingram Collection?
No two days are alike — I might be meeting with an emerging artist in their studio, curating an exhibition, speaking at a panel, or reviewing acquisitions. I love the intellectual variety, the conversations, and the sense of purpose. One challenge is ensuring emerging artists receive the sustained support they need, not just one-off visibility. That’s why we focus on ongoing support — through things like residencies, mentoring, and commission opportunities. The direction for the Collection is clear: deepen our commitment to contemporary artists and expand the ways we make the collection publicly accessible — both physically and digitally.
Who are some of your favourite artworks/artists of all time and why?
I have such admiration for Dame Barbara Hepworth — her exploration of form and space continues to influence so many. There is a work in the collection called Sculpture with Colour and Strings. I love Hepworth. She was born in 1903 in Wakefield, West Yorkshire and by the time of her death in 1975, she had become one of the most important artists of the century, creating a poignant and innovative sculptural language. She has two museums named after her – The Barbara Hepworth Museum and Sculpture Garden in St Ives, Cornwall; and The Hepworth Wakefield – an honour conferred on very few artists. At the Ingram Collection we hold a number of important works by Hepworth. These are regularly requested for loan at museums and galleries across the UK and internationally.
Dame Barbara Hepworth (1903-1975), Sculpture with Colour and Strings, 1939/1961, bronze with a light brown and light green patina and string. The Ingram Collection. Barbara Hepworth © Bowness.
At the outset of the Second World War, Hepworth moved to St Ives with her husband and fellow artist Ben Nicholson. Limited artists’ materials and space restricted Hepworth to small-scale sculptures. Throughout her life she used a variety of materials and methods. In the late 1930s she explored the interiors of round shapes with string and colours. The sinuous forms and taut strings in this work show Hepworth’s response to the ancient rhythms of the Cornish landscape and sea: the interplay of light, the ebb and flow of tides, and the movement of waves crashing against rocks, creating cavities and internal spaces within the landscape. Hepworth's strings define the space within her sculptures, bringing a sense of fluidity and tension. Resembling mysterious musical instruments, Hepworth’s stringed sculptures were inspired by the Cornish landscape. As she put it, ‘The colour in the concavities plunged me into the depth of water, caves, of shadows deeper than the carved concavities themselves. The strings were the tension I felt between myself and the sea, the wind or the hills…’.
Frances Pinnock, Light Sleeper, 2024, leather, brass, horsehair, iron sulphate, calligraphy ink, oil paint, shellac lacquer. The Ingram Collection © Frances Pinnock.
What to you constitutes a great piece of art?
For me, it’s a work that lingers — that stays with you long after you’ve seen it. It should challenge, provoke, or move you in some way. Great art often resists easy interpretation, but invites engagement — it makes you want to spend time with it.
Who are some interesting artists you're looking at now?
All of our amazing Ingram Prize artists! Each finalist brings their own unique voice and I continue to watch them grow and develop both their practice and their careers. I am currently working with Francis Pinnock on her first institutional solo show Night Sleeper which opens at Lightbox Gallery later this year. France was one of the 2024 Ingram Prize winners, and I am delighted that one of the opportunities we can offer is a solo institutional exhibition.
What is your favourite piece of art from your own personal collection at home and why?
I have a small painting by an emerging artist we supported through the Ingram Prize — it’s modest in scale, but carries enormous emotional weight. It reminds me daily why I do this work: because behind every artwork is a voice, a vision, and a story worth championing.
Tell me any work you might have coming up that you might like to promote or share.
We’re currently preparing for the next edition of the Ingram Prize, which has just opened for entries so please apply! We’re also developing a public programme of exhibitions that will spotlight both the historical strengths of the Collection and the bold new voices shaping contemporary art today. There’s a lot more to come — and I’m incredibly excited about where we’re headed.
Subscribe to the Studio BAE newsletter now.