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”’.
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.
A recent addition to the Early American Places series, Adam Costanzo’s George Washington’s Washington: Visions for the National Capital in the Early American Republic provides an overview of the development of and visions for Washington, DC, from 1790 to the late 1830s and, thus, spans the administrations of the first seven American presidents: George Washington, John Adams, Thomas Jef
The British Library’s new exhibition ‘Anglo-Saxon Kingdoms: Art, Word, War’ is a celebration of Anglo-Saxon culture and learning, mainly represented though the texts produced during that period.
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’.
As a late medievalist who has recently moved to Scotland, I was disappointed to learn that the Burrell Collection in Glasgow – home to the many medieval treasures once owned by the shipping magnate and prolific collector, William Burrell – is closed over the next two years.
The planning of cities from the 1940s to the 1960s is one of the major strands of British (and indeed, international) post-war social history.
Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America is a deeply researched book, focused on how the new medium of photography was shaped and, in turn, altered by the country’s struggle over human bondage.
In 1979 Pete Wrong of the art collective and Punk band Crass was being interviewed by New Society about his graffiti operation on the London Underground: ‘We don’t just rip the posters down or spray them. We use stencils, neatly, to qualify them.
The Romantic image of the starving artist painting in a threadbare garret and refusing to bend his talent to please a Philistine public could not be further from the artists and their studios considered in Louise Campbell’s Studio Lives.