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The architect, like other professions in the modern world distinguished by specialist training (doctors, engineers, etc.), cannot be conceived easily without some notion of ‘expertise’.
Some 70 years after the British left India it is timely to look back at how the kings and queens of the United Kingdom came to amass one of the largest private collections of South Asian art in the world. Two conjoined exhibitions currently showing at the Queen’s Gallery do just that.
In Room 145 of the Ceramics Galleries of the Victoria & Albert Museum, at the top of case 50, you can see an ‘architectural fragment’, which, according to its label, ‘once ornamented a palace in Yuanmingyuan or “garden of perfect clarity”’.
On 25 March 1911, a fire broke out on the eighth floor of the Asch Building in Greenwich Village, New York, and quickly began to spread. This floor, as well as the ninth and tenth, housed the Triangle Waist Company, a sweat shop producing ladies’ blouses.
Somewhat late in the day, Tate Britain has got around to an exhibition about the British Empire and its legacies.
Scholars of contemporary religious history, of art history, and of the immigrant experience will find much to interest them in this fine volume from Samantha Baskind of Cleveland State University, Ohio.
A stigma around the ill-defined genre of popular history lingers in the academy.
The dissemination of cultural improvement was written into the ethos of the BBC under John Reith, the first director-general from 1927. Until 1945 the BBC broadcast a single national service and therefore constructed programming that attempted to offer a culturally unified ‘voice of the nation’.
I cannot help a passing allusion to the lack of pictorial records of this war – records made by artists of experience, who actually witness the scenes they portray.
While there has been sustained focus on modern women’s relationship to their culture and society, and, with the upcoming centennial commemorations of the First World War a surge of renewed interest in the art generated by the conflict, war-related imagery produced by women artists remains largely overlooked.