Martina Droth is Deputy Director of Research and Curator of Sculpture at the Yale Center for British Art, New Haven. She heads a ten-strong department that supports all aspects of the Center’s scholarly and pedagogical mission. The Center runs more than three-hundred programs a year, including talks, seminars, symposia, and teaching programs, workshops that support exhibition development, and a range of opportunities to facilitate research, including student and post-doctoral positions, and a visiting scholar program.

Her own work focuses on sculpture and questions about interdisciplinary approaches to practice, materials, and modes of display, with a particular emphasis on British sculpture of the nineteenth and twentieth centuries. Recent projects at the Center include the exhibition Sculpture Victorious: Art in an Age of Invention, 1837-1901 (YCBA 2014, Tate Britain 2015), which she co-curated with Michael Hatt and Jason Edwards, and which was accompanied by a book published by Yale University Press. Alongside the exhibition she ran a colloquium, sponsored by the Terra Foundation for American Art, on the singular statue The Greek Slave by Hiram Powers, which she is now developing as an edited collection. In 2012 she co-curated Caro: Close Up, and co-edited the accompanying book.

Prior to joining the Center, she worked at the Henry Moore Institute, Leeds, where she curated exhibitions, developed a wide range of scholarly programs, and was co-editor, with Penelope Curtis, of Subject/Object: New Studies in Sculpture, a series of volumes co-published with Ashgate. Her exhibitions at the Institute included Taking Shape: Finding Sculpture in the Decorative Arts (2008-2009), which travelled to the J. Paul Getty Museum and was accompanied by an award-winning catalogue. In 2005 she curated Bronze: The Power of Life and Death, and edited the accompanying book. A conference held in Brussels to complement the exhibition was later published as Revival and Invention: Sculpture and its Material Histories (Peter Lang, 2011), which she co-edited with Sébastien Clerbois.

She is currently working on an exhibition of modern and contemporary ceramics, and developing a further project examining the relationship between Henry Moore and Bill Brandt.