Research Project | Marrying Cultures: Queens Consort, 1500–1800
This HERA-funded research project on queens consort will be of interest to many readers. Upcoming events are scheduled to take place throughout Europe: Wolfenbüttel, Berlin, Oxford (in conjunction with Kensington Palace), Warsaw, and Stockholm. –CH
Marrying Cultures: Queens Consort and European Identities, 1500–1800
Marrying Cultures is a three-year research project funded by HERA (Humanities in the European Research Area) focusing on the foreign consort as agent of cultural transfer. The case studies to be investigated are the Polish princesses Katarzyna Jagiellonka, Duchess of Finland and Queen of Sweden (1526–83), and Zofia Jagiellonka, Duchess of Braunschweig-Wolfenbüttel (1464–1512); Hedwig Eleonora of Schleswig-Holstein-Gottorp, Queen of Sweden (1636–1715), and Charlotte Amalie of Hessen-Kassel, Queen of Denmark (1650–1714); the Portuguese princess Catarina of Braganza, Queen of Great Britain (1638–1705); Maria Amalia of Saxony, Queen of the Two Sicilies and Queen of Spain (1724–1760); and Luise Ulrike of Prussia, Queen of Sweden (1720–82).
Working with colleagues in historic palaces, museums and libraries (including Kensington Palace, the Victoria and Albert Museum and the National Portrait Gallery, London; the Royal Armoury, Stockholm, and the Duke August Library, Wolfenbüttel), the project members will also consider how it is that certain consorts become embedded in national cultural memory and others do not.
Partners
Historic Royal Palaces (Kensington Palace, London): Dr Joanna Marschner
National Portrait Gallery, London: Dr Catharine Macleod
Victoria and Albert Museum, London: Dr Julius Bryant
Livrustkammaren (The Royal Armoury), Stockholm: Dr Malin Grundberg
The Museum of Polish History, Warsaw: Monika Matwiejczuk
Supportive Institutions
Herzog August Bibliothek, Wolfenbüttel: Professor Hellwig Schmidt-Glintzer
Hochschule für Musik, Theater und Medien, Hannover: Professor Susanne Rode-Breymann
Husgerådskammaren (The Royal Collections), Stockholm: Dr Lars Ljungström
Turku Castle and Historical Museum: Olli Immonen
Exhibition | Vivienne Westwood: Cut from the Past
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From Danson House:
Vivienne Westwood: Cut from the Past
Danson House, Bexleyheath, Kent, 1 April — 31 October 2015
The 18th century is the high point of art and culture. —Dame Vivienne Westwood
The impact of 18th-century art and design on the work of distinguished British fashion designer Vivienne Westwood is celebrated in a new exhibition at Danson House this spring. Vivienne Westwood: Cut from the Past brings together for the first time a number of her ground-breaking designs, and explores the collections that proved to be her turning point both critically and commercially.
Danson House, a splendidly restored Georgian villa, provides a tailor-made backdrop to the exhibition which highlights Westwood’s seminal work of the 1990s which was influenced by the 18th century. Designs and outfits on show make particular reference to the Rococo paintings of French artists Watteau and Boucher. Westwood’s passion for 18th-century design is also reflected in some earlier pieces from the ‘Cut, Slash and Pull’ and ‘Mini Crini’ collections, and the Malcom McLaren and Vivienne Westwood ‘Seditionaries’ Collection.
Caroline Worthington, Chief Executive, Bexley Heritage Trust said, “We are delighted to be working together with the Victoria & Albert Museum for the first time to bring cutting edge design back to Danson House for the 2015 season—just as the original owners, the Boyd family, did in the 18th century.”
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Danson House boasts a suite of rooms created for Sir John Boyd, a man besotted with his young bride. Enjoy this superb example of 18th-century architecture with its classical proportions, elegant interiors and rich symbolism celebrating love and marriage. Designed as a retreat from the hustle and bustle of central London, Danson House was completed in 1766. Sir John Boyd was a sugar merchant and vice-chairman of the British East India Company. Together with the notable architect Sir Robert Taylor, Boyd created this homage to the Golden Age of Antiquity, filling it with art and sculpture from his travels on the Continent. Today his home gives us a fascinating insight into fashionable
Georgian life.
Exhibition | Love Bites: Caricatures by James Gillray
From the Ashmolean:
Love Bites: Caricatures by James Gillray
Ashmolean Museum, Oxford, 26 March — 21 June 2015
Curated by Todd Porterfield
James Gillray, Design for a Naval Pillar, 1800
(New College, Oxford)
To mark the 200th anniversary of the death of British caricaturist James Gillray (1757– 1815), the Ashmolean presents more than 60 of Gillray’s finest caricatures from the outstanding collection of New College, Oxford.
James Gillray trained as a professional copyist at the Royal Academy and then staked his professional life on caricature, amongst the first generation of artists to do so. He produced more than a thousand prints, some the fruit of months of reflection, others banged out at lightning speed, responding to but also creating instant controversies on the very day of the event. His prints were divisive and partisan: in 1798 a Tory Lord would congratulate him for having “been of infinite service in lowering them [the Whigs] and making them look ridiculous,” while the exiled Napoleon, well aware of Gillray’s anti-French propaganda, was reported to have said that the British engraver did more than all the armies of Europe to bring him down.
Love Bites: Caricatures by James Gillray is curated by Professor Todd Porterfield of the University of Montreal. The exhibition has been generously supported by The Paul Mellon Centre for Studies in British Art and the Friends of the Ashmolean.
In connection with the exhibition, the Ashmolean Museum will host a conference, James Gillray@200: Caricaturist
without a Conscience?, on the 28th and 29th of March 2015.
Conference | James Gillray@200: Caricaturist without a Conscience?
James Gillray, Enchantments Lately Seen upon the Mountain of Wales, 1796
(New College, Oxford)
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From New College, Oxford:
James Gillray@200: Caricaturist without a Conscience?
Ashmolean Museum, Oxford, 28–29 March 2015
Organised by Todd Porterfield, Université de Montréal; Martin Myrone, Tate Britain; and Michael Burden, New College, Oxford; with Ersy Contogouris, Université de Montréal
To commemorate the 200th anniversary of Gillray’s death, and in conjunction with the Ashmolean Museum’s exhibition, Love Bites: Caricatures of James Gillray, based on New College’s outstanding collection, we are organizing a two-day symposium at the Ashmolean Museum to hear and see the latest Gillray scholarship.
James Gillray’s reputation in the two centuries since his death has been as varied and layered as his prints. Trained at the Royal Academy, he failed at reproductive printmaking, yet became, according to the late-eighteenth-century Weimar journal London und Paris, one of the greatest European artists of the era. Napoleon, from his exile on St Helena, allegedly remarked that Gillray’s prints did more to run him out of power than all the armies of Europe. In England, patriots had hired him to propagandize against the French and touted him as a great national voice, but he was an unreliable gun-for-hire. At a large public banquet, during the heat of anti-Revolutionary war fever, he even raised a toast to his fellow artist, the regicide, Jacques-Louis David. Gillray produced a highly individual, highly schooled, and often outlandish body of work with no clear moral compass that undermines the legend of the caricaturist as the voice and heart of the people.
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S A T U R D A Y , 2 8 M A R C H 2 0 1 5
10.00 Registration and coffee
10:30 Session I: Gillray in the Media Age
• Douglas Fordham, University of Virginia, ‘A Media Critic for the Intaglio Age’
• Esther Chadwick, Yale University, ‘Gillray’s Tree of Liberty: Political Communication and Epistolary Networks in the Radical 1790s’
• Kate Grandjouan, Visiting Associate Professor, Department of Art History, University of Belgrade, ‘Gillray’s French Jokes: The “Sick-list” Casualties of the 1790s’
12.00 Lunch
1:00 Session II: Gillray in the Colonial Networks: Positionings on Race and Slavery
• Julie Mellby, Graphic Arts Curator within Rare Books and Special Collections at Firestone Library, Princeton University, ‘The Sale and Resale of English Beauties in the East Indies’
• Amanda Lahikainen, Aquinas College, ‘James Gillray and Representations of Napoleon’s Egyptian Campaign: Islam as Republican Sacrilege’
• Katherine Hart, Senior Curator of Collections & the Barbara C. and Harvey P. Hood 1918 Curator of Academic Programming, Hood Museum of Art, Dartmouth College, ‘James Gillray, Charles James Fox, and the Abolition of the Slave Trade: Caricature and Displacement in the Debate over Reform’
2.30 Coffee
3:00 Session III: The Artist and Formal Means
• Ersy Contogouris, Université de Québec à Montreal, ‘Gillray’s Preparatory Drawings’
• Cynthia Roman, The Lewis Walpole Library, Yale University, ‘James Gillray and the Satiric Alternative to Painting History’
6.30 Reception
7.00 Dinner
S U N D A Y , 2 9 M A R C H 2 0 1 5
9.00 Visit to the exhibition, Love Bites: Caricatures of James Gillray
10:15 Session IV: The Artist and Literary Means
• David Taylor, Assistant Professor, Department of English and Comparative Literary Studies, University of Warwick, ‘Gillray, Milton, and the “Caricatura Sublime”’
• Rachel M. Brownstein, Professor of English, City University of New York, ‘James Gillray and Jane Austen: Aesthetic Affinities’
11.15 Coffee
11:45 Session V: Gillray, the People, the Academy and Revolution
• Vic Gatrell, Caius College, Cambridge, ‘Gillray Reconsidered: ‘The Voice and Heart of the People’?
• Katarzyna Murawska-Muthesius, Associate Lecturer, Department of History of Art, Birkbeck College, University of London, ‘Caricature’s Unconscious: James Gillray and the Academy’
• Ian Haywood, Professor of English Co-Director, Centre for Research in Romanticism University of Roehampton, London, ‘Gillray’s Valediction: The Life of William Cobbett’
1.15 Lunch
Snite Museum Acquires Pressly Collection of James Barry Prints
James Barry, The Phoenix or The Resurrection of Freedom, 1775/ca. 1790, etching and engraving with traces of aquatint, 17 x 24.1 inches (plate). Snite Museum of Art, gift of William and Nancy Pressly in honor of the Stent Family, 2015.002.001.
Click here to enlarge
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Press release (30 January 2015) from the Snite Museum of Art:
Snite Museum Expands Irish Art Collection at the University of Notre Dame with the William and Nancy Pressly Collection of James Barry Prints
The Snite Museum of Art announces the acquisition of a significant portfolio of 28 prints by the quixotic Irish artist James Barry (1741–1806). Rich in symbolism and technically inventive, these new additions to the collection promise to enhance the University of Notre Dame’s position as a leading center for Irish, eighteenth-century, art historical, and trans-Atlantic studies. The artist’s dramatic compositions, grand scale, and heroic subjects offer visitors, connoisseurs, students, and scholars much to contemplate and enjoy.
“This is a first-rate acquisition of one of the most influential artists of the eighteenth-century British Atlantic world. It will be thrilling to see how our students in early American, Irish, and British history interpret such a rich and complex set of materials,” said Patrick Griffin, chair and Madden-Hennebry Professor of History at the University of Notre Dame.
James Barry, King Lear and Cordelia, etching and engraving, 1776/1791, 19.5 x 22.2 inches (sheet). Snite Museum of Art, The William and Nancy Pressly Collection acquired with funds made available by the F. T. Stent Family, 2015.001.001.
Included in the portfolio are many rare, lifetime impressions of some of the Catholic artist’s most provocative images skewering British society or weighing in on contentious current events, such as the war in the American colonies. Barry was a member of the Royal Academy but was eventually expelled for his belligerence and acrimony.
Printmaking for Barry was more than just an opportunity to market his ideas to a wide audience. Self-taught in the arts of printmaking, he used it to work out iconographical and compositional problems. It was part of his creative process, and the prints can be used to chart his ever-evolving positions on political issues and his increasing technical acumen. Multiple states of the same print in which the more experimental aquatint technique was effaced in favor of conventional engraving suggest the artist’s lamentable concession to a market that did not appreciate his innovations. He was one of the earliest practitioners of lithography shortly after its invention around 1800, a singular example of which is also part of this portfolio.
This remarkable collection was built over four decades by Nancy and William Pressly, the foremost scholar on James Barry and professor emeritus of eighteenth- and nineteenth-century European art at the University of Maryland. Pressly said, “Over the years, as I looked and relooked at these prints, I was amazed at both the subtlety and richness of Barry’s process, but he never pursued virtuosity for its own sake: all is in the service of his passion to transform his audience, a transformation, however, that places great demands on his viewer.”
Barry produced over 40 prints during his career. The William and Nancy Pressly Collection represents more than half of that production, making the University of Notre Dame and the Yale Center for British Art the two largest repositories of his work in the United States.
The acquisition of eighteen of the prints was made possible by a generous gift from the F. T. Stent Family with ten additional prints donated by the Presslys themselves.
New Book | Women Artists: The Linda Nochlin Reader
Due out this summer from Thames & Hudson:
Linda Nochlin, Women Artists: The Linda Nochlin Reader, edited by Maura Reilly (London: Thames & Hudson, 2015), 434 pages, ISBN: 978-0500239292, $50.
Linda Nochlin is one of the most accessible, provocative, and innovative art historians of our time. In 1971 she published her essay “Why Have There Been No Great Women Artists?”—a dramatic feminist call-to-arms that called traditional art historical practices into question and led to a major revision of the discipline.
Women Artists brings together twenty-nine essential essays from throughout Nochlin’s career, making this the definitive anthology of her writing about women in art. Included are her major thematic texts “Women Artists After the French Revolution” and “Starting from Scratch: The Beginnings of Feminist Art History,” as well as the landmark essay and its rejoinder “‘Why Have There Been No Great Women Artists?’ Thirty Years After.” These appear alongside monographic entries focusing on a selection of major women artists including Mary Cassatt, Louise Bourgeois, Cecily Brown, Kiki Smith, Miwa Yanagi, and Sophie Calle. Women Artists also presents two new essays written specifically for this book and an interview with Nochlin investigating the position of women artists today.
Linda Nochlin is a highly celebrated feminist art historian. She is the Lila Acheson Wallace Professor of Modern Art Emerita at the Institute of Fine Arts, New York University. Her major books include Courbet, Representing Women, and Women, Art, and Power.
Maura Reilly has worked as a critic for Art in America and as a lecturer at the Museum of Modern Art, New York. She has held curatorial positions at the Brooklyn Museum and at the American Federation of Arts, New York. She is coauthor, with Linda Nochlin, of Global Feminisms: New Directions in Contemporary Art.
Call for Papers | Sixth Annual Feminist Art History Conference
Sixth Annual Feminist Art History Conference
American University in Washington, D.C., 6–8 November 2015
Proposals due by March 2015
This annual conference builds on the legacy of feminist art-historical scholarship and pedagogy initiated by Norma Broude and Mary D. Garrard at American University. To further the inclusive spirit of their groundbreaking anthologies, we invite papers on subjects spanning the chronological spectrum, from the ancient world through the present, to foster a broad dialogue on feminist art-historical practice. Papers may address such topics as: artists, movements, and works of art and architecture; cultural institutions and critical discourses; practices of collecting, patronage, and display; the gendering of objects, spaces, and media; the reception of images; and issues of power, agency, gender, and sexuality within visual cultures. Submissions on under-represented art-historical fields, geographic areas or national traditions, and issues of race and ethnicity are encouraged.
To be considered for participation, please provide a single document in Microsoft Word. It should consist of a one-page, single-spaced proposal of unpublished work, up to 500 words in length for a 20-minute presentation, followed by a curriculum vitae of no more than two pages. Please title the document “[last name]-proposal”. Submit materials with the subject line “[last name]-proposal” to: fahc6papers@gmail.com. Submission Deadline: May 15, 2015. Invitations to participate will be sent by July 1. Send general queries to: fahc2015queries@gmail.com.
Keynote speaker: Professor Amelia Jones, University of Southern California: “The Curating of Feminist Art (or is it the Feminist Curating of Art?)”
Sponsored by the Art History Program and the Department of Art, College of Arts and Sciences, American University. Organizing committee: Juliet Bellow, Norma Broude, Kim Butler Wingfield, Mary D. Garrard, Helen Langa, Andrea Pearson, and Ying-chen Peng
New Book | Imperial Illusions: Crossing Pictorial Boundaries
From the Art History Publication Initiative—which, with exciting models for supporting and marketing art history books, is itself well worth a visit:
Kristina Kleutghen, Imperial Illusions: Crossing Pictorial Boundaries in the Qing Palaces (Seattle: University of Washington Press, 2015), 384 pages, ISBN: 978-0295994109 (ebook, ISBN: 978-0295805528), $70.
In the Forbidden City and other palaces around Beijing, Emperor Qianlong (r. 1736–1795) surrounded himself with monumental paintings of architecture, gardens, people, and faraway places. The best artists of the imperial painting academy, including a number of European missionary painters, used Western perspectival illusionism to transform walls and ceilings with visually striking images that were also deeply meaningful to Qianlong. These unprecedented works not only offer new insights into late imperial China’s most influential emperor, but also reflect one way in which Chinese art integrated and domesticated foreign ideas.
In Imperial Illusions, Kristina Kleutghen examines all known surviving examples of the Qing court phenomenon of ‘scenic illusion paintings’ (tongjinghua), which today remain inaccessible inside the Forbidden City. Produced at the height of early modern cultural exchange between China and Europe, these works have received little scholarly attention. Richly illustrated, Imperial Illusions offers the first comprehensive investigation of the aesthetic, cultural, perceptual, and
political importance of these illusionistic paintings
essential to Qianlong’s world.
Kristina Kleutghen is assistant professor of art history
and archaeology at Washington University in St. Louis.
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C O N T E N T S
Acknowledgments
Note to Readers
Chronology of Chinese Dynasties and Political Periods
Introduction: A New Vision of Painting
1 Painted Walls and Pictorial Illusions
2 The Study of Vision
3 Contemplating the Future
4 Peacocks and Cave-Heavens
5 Staging Europe
6 The Beauty in the Garden
Epilogue: Illusions, Imperial and Otherwise
Appendix: Chinese Texts
Notes
Glossary of Chinese Characters
Bibliography
Index
Display | Elaborate Embroidery: Fabrics for Menswear before 1815
From The Met:
Elaborate Embroidery: Fabrics for Menswear before 1815
The Metropolitan Museum of Art, New York, 2 February — 19 July 2015
This installation features lengths of fabric for an unmade man’s suit and waistcoat, as well as a selection of embroidery samples for fashionable menswear made between about 1760 and 1815. During this period, France was the undisputed epicenter of the European fashionable world, and professional embroidery workshops there produced a dizzying array of colorful designs from which a man could choose. The installation features a copy of L’Art du Brodeur (The Art of the Embroiderer), which was published in Paris in 1770. This book contains detailed descriptions about subjects such as preparing fabric to be embroidered and the variety of threads used in a workshop, as well as illustrations of designs for men’s suits.
Seen together, the fabrics and the book provide a glimpse into the world of vividly colored and highly decorative fashion that was a key component of an upper-class European man’s life in the eighteenth and early nineteenth centuries.
Exhibition | Indigenous Australia: Enduring Civilisation
Press release (January 2015) for The British Museum exhibition:
Indigenous Australia: Enduring Civilisation
The British Museum, London, 23 April – 2 August 2015
National Museum of Australia, Canberra, Fall 2015
Kunmanara Hogan, Tjaruwa Woods, Yarangka Thomas, Estelle Hogan, Ngalpingka Simms and Myrtle Pennington, Kungkarangkalpa, acrylic on canvas, 2013. © The artists, courtesy Spinifex Arts Project.
In April 2015 the British Museum will open a major exhibition presenting a history of Indigenous Australia, the first exhibition in the UK devoted to the history and culture of Indigenous Australians: both Aboriginal peoples and Torres Strait Islanders. Drawing on objects from the British Museum’s collection, accompanied by important loans from British and Australian collections, the show will present Indigenous Australia as a living culture, with a continuous history dating back over 60,000 years. The objects in the exhibition will range from a shield believed to have been collected at Botany Bay in 1770 by Captain Cook or one of his men, a protest placard from the Aboriginal Tent Embassy established in 1972, contemporary paintings, and specially commissioned artworks from leading Indigenous artists. Many of the objects have never been on public display before.
Shield collected at Botany Bay during Captain Cook’s visit, 1770 (London: The British Museum).
The objects displayed in this exhibition are immensely important. The British Museum’s collection contains some of the earliest objects collected from Aboriginal people and Torres Strait Islanders through early naval voyages, colonists, and missionaries dating as far back as 1770. Many were collected at a time before museums were established in Australia and they represent tangible evidence of some of the earliest moments of contact between Aboriginal people, Torres Strait Islanders and the British. Many of these encounters occurred in or near places that are now major cities such as Sydney, Melbourne, Adelaide, and Perth. As a result of collecting made in the early 1800s, many objects originate from coastal locations
rather than the arid inland areas often associated with
Indigenous Australia in the popular imagination.
Vincent Namatjira, James Cook—with the Declaration, 2014. © Vincent Namatjira
The exhibition will present not only Indigenous ways of understanding the land and sea but also the significant challenges faced by Indigenous Australians from the colonial period until to the present day. In 1770 Captain Cook landed on the east coast of Australia, a continent larger than Europe. In this land there were hundreds of different Aboriginal groups, each inhabiting a particular area, and each having its own languages, laws and traditions. This land became a part of the British Empire and remained so until the various colonies joined together in 1901 to become the nation of Australia we know today. In this respect, the social history of 19th-century Australia and the place of Indigenous people within this is very much a British story. This history continues into the twenty first century. With changing policies towards Indigenous Australians and their struggle for recognition of civil rights, this exhibition shows why issues about Indigenous Australians are still often so highly debated in Australia today.
The exhibition brings together loans of special works from institutions in the United Kingdom, including the British Library, the Pitt Rivers Museum and the Cambridge Museum of Archaeology and Anthropology. A number of works from the collection of the National Museum of Australia will be shown, including the masterpiece ‘Yumari’ by Uta Uta Tjangala. Tjangala was one of the artists who initiated the translation of traditions of sand sculptures and body painting onto canvas in 1971 at Papunya, a government settlement 240km northwest of Alice Springs in the Northern Territory. Tjangala was also an inspirational leader who developed a plan for the Pintupi community to return to their homelands after decades of living at Papunya. A design from ‘Yumari’ forms a watermark on current Australian passports.
This exhibition has been developed in consultation with many Aboriginal and Torres Strait Islander individuals, Indigenous art and cultural centres across Australia, and has been organised with the National Museum of Australia. The broader project is a collaboration with the National Museum of Australia. It draws on a joint research project, funded by the Australian Research Council, undertaken by the British Museum, the National Museum of Australia and the Australian National University. Titled Engaging Objects: Indigenous communities, museum collections and the representation of Indigenous histories, the research project began in 2011 and involved staff from the National Museum of Australia and the British Museum visiting communities to discuss objects from the British Museum’s collections. The research undertaken revealed information about the circumstances of collecting and significance of the objects, many of which previously lacked good documentation. The project also brought contemporary Indigenous artists to London to view and respond to the Australian collections at the British Museum.
Neil MacGregor, Director of the British Museum said, “The history of Australia and its people is an incredible, continuous story that spans over 60,000 years. This story is also an important part of more recent British history and so it is of great significance that audiences in London will see these unique and powerful objects exploring this narrative. Temporary exhibitions of this nature are only possible thanks to external support so I am hugely grateful to BP for their longstanding and on-going commitment to the British Museum. I would also like to express my gratitude to our logistics partner IAG Cargo and the Australian High Commission who are supporting the exhibition’s public programme.”
Peter J. Mather, Group Regional Vice President, Europe and Head of Country, UK, BP: “BP is extremely pleased to support The BP Exhibition Indigenous Australia: Enduring Civilisation, part of our five year commitment to the museum’s special exhibitions programme. BP has had a presence in Australia for almost 100 years and our support for this exhibition is part of BP’s wider contribution to the societies where we operate, enabling audiences to connect with a variety of different cultures. We are delighted to continue our long-standing relationship with the British Museum by supporting this exhibition which we hope will inspire interest in Australia’s indigenous people and culture for many thousands of visitors.”
Dr Mathew Trinca, National Museum of Australia Director, welcomed the British Museum exhibition: “We are delighted to support this major exhibition in London with the loan of some key objects from our collection. We look forward to continuing our work together to realise our ambition for an exhibition of these artefacts in Canberra in late 2015.”
Patron: HRH The Prince of Wales
Supported by BP
Organised with the National Museum of Australia
Logistics partner IAG Cargo
Public programme supported by the Australian High Commission
Gaye Sculthorpe, John Carty, Howard Morphy, Maria Nugent, Ian Coates, Lissant Bolton, and Jonathan Jones, Indigenous Australia: Enduring Civilisation (London: The British Museum Press, 2015), 272 pages, ISBN: 978-0714126944, £30.
This ground-breaking publication explores the unique and ongoing relationship that Aboriginal people and Torres Strait Islanders have to place and country. It also explores the profound impact and legacy of colonialism, the nature of collecting and the changing meaning of objects now in the collection of The British Museum.
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