Journal articles: 'British exhibitions'

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Kapoor, Punita. "The Punjab Exhibition of 1881 and Politics of the British Raj." Past and Present: Representation, Heritage and Spirituality in Modern India 4, Special Issue (December 25, 2021): 40–48. http://dx.doi.org/10.12944/crjssh.4.special-issue.05.

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In 1849, Punjab was annexed by the English East India Company. This paper deals with the Punjab Exhibition of 1881, where along with textiles, arts and other local handicrafts of India were put on display. Claiming to revive the indigenous Indian arts, crafts and textiles, the exhibition represents the politics of selected exhibits that catered to the taste1 and choice of the British. The exhibition helps in understanding the objective and importance of conducting imperial exhibitions, as exhibitions were also redefining the European homes. A detailed analysis of the exhibition foregrounds how colonial rule redefined the idea and representation of indigenous handicrafts and art. The indigenous handicraft was also immensely being guided by the European market. Thus, the paper focuses on the aspects and strategy adopted by the British at promoting and preserving Indian art and textile. Moreover, efforts at preservation of the arts got institutionalised in the form of art schools. These were set up for the purpose of promoting and building taste for Indian traditional art in the British markets. The paper attempts to understand how the British shaped the notion of heritage and cultural difference between the coloniser and colonised and the ‘self’ and the ‘other’ through the exhibition. By analyzing the Punjab Exhibition 1881, the paper aims to deal with some pertinent issues such as strategic organisation and representation of the exhibits, as well as the legacy of the exhibition during colonial rule. The paper argues that though the British took to organising exhibitions to promote and preserve Indian art and textile, but in reality, it was a disguise aimed at establishing imperial supremacy over the colonised and maintain a hierarchical relationship of aesthetic and traditional culture between the ruler and the ruled.

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August, Tom. "The West Indies play Wembley." New West Indian Guide / Nieuwe West-Indische Gids 66, no. 3-4 (January 1, 1992): 193–206. http://dx.doi.org/10.1163/13822373-90001996.

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The Wembley British Empire Exhibition of 1924 familiarized the public with the resources and products of the Empire. In this decade of severe economic dislocation and indebtness attention was now focused on the commercial value of the colonies rather than on the jingoism of earlier exhibitions.

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JOHN Ph.D, IDIBEKE AMOS, SUNDAY ETIM EKWERE Ph.D, and PROFESSOR EDEM ETIM PETERS. "VISUAL ART EXHIBITION: A CATALYST FOR SOCIAL UNIFICATION IN NIGERIA." International Journal of Applied Science and Research 05, no. 04 (2022): 01–04. http://dx.doi.org/10.56293/ijasr.2022.5401.

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This paper attempts a definition of the term exhibition with particular attention to Visual Art Exhibition, knowing that there are different forms of exhibitions that may not relate to visual arts. The paper equally highlighted on the various types of exhibitions pointing out the virtual exhibition as a new inclusion that has greatly changed the traditional format of visual art exhibition with its attendant impact on the outcome of the results of exhibitions. The highlighted focuses on the challenges of understanding the scope of the basic types of exhibition in contemporary times, as has been redefined by the concept of virtual exhibition. The relevance of exhibition to artists and the significance to the public is deeply discussed with the aim of positioning visual art exhibition in its rightful place as a catalyst for social change. This assertion could be seen in the significant effort of Kenneth C. Murray as a pioneer curator and organizer of visual art exhibition in Nigeria. Murray was a British Art Teacher in Nigeria who was instrumental to the establishment of Oron Museum in Akwa Ibom State, Nigeria, and he recognized Oron Carvings since 1938 and collected them for permanent art exhibition in the Oron Museum. The above therefore formed the conceptual framework of this paper. The opinions, positions and oppositions of other authorities in this matter are considered as they form the indices for postulating the idea of art exhibition as catalyst for social unification. However, the paper concludes that for the visual art exhibition to function as a catalyst for social unification, the elements of unity and integration must be factors the exhibitions composed of, for it to engender the expression of such feelings of social togetherness.

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Pitman, Alexandra, and Fiona Stevenson. "Suicide Reporting Within British Newspapers’ Arts Coverage." Crisis 36, no. 1 (January 1, 2015): 13–20. http://dx.doi.org/10.1027/0227-5910/a000294.

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Background: Many suicide prevention strategies promote media guidelines on suicide reporting, given evidence that irresponsible reporting of suicide can influence imitative suicidal behavior. Due to limited resources, monitoring of guideline adherence has tended to focus on news outputs, with a risk of neglecting other journalistic content. Aims: To determine whether British newspapers’ arts coverage adheres to media guidelines on suicide reporting. Method: Purposive sampling was used to capture current national practice on suicide reporting within newspapers’ arts coverage of exhibitions. Recent major UK exhibitions by artists who had died by suicide were identified: Kirchner, Rothko, Gorky, and Van Gogh. Content analysis of all UK national newspaper coverage of these exhibitions was performed to measure the articles’ adherence to widely accepted media guidelines. Results: In all, 68 newspaper reviews satisfied inclusion criteria, with 100% failing to show full adherence to media guidelines: 21% used inappropriate language; 38% provided explicit descriptions of the suicide; 7% employed simplistic explanations for suicide triggers; 27% romanticized the suicide; and 100% omitted information on sources of support. Conclusion: British newspapers’ arts coverage of exhibitions deviates considerably from media guidelines on the reporting of suicide. The findings suggest scope to improve journalists’ awareness of the importance of this component of suicide prevention strategies.

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James, N. "Exhibitions: exotica and exigencies." Antiquity 78, no. 302 (December 2004): 914–15. http://dx.doi.org/10.1017/s0003598x00113559.

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Two exhibitions, in England and France, are showing different ways to promote interest in archaeology and history from regions afar. Sudan: ancient treasures is a lavish and elegant show at the British Museum, London. In Auch, Le crépuscule des dieux, on the Americas, is imaginative but penurious. The first raises an ethical worry, the second a couple of technical principles.Sudan displays some 350 exhibits, from an Acheulian handaxe to Medieval inscriptions, all from the Sudan National Museum, celebrating its centenary. Most are clearly arranged in chronological sections, and amplifying the narrative are an effective introduction and sections on goldwork, pottery and burials. The exhibition is completed by photographs of the multinational Meroe Dam Archaeological Salvage Project, which (it is claimed) has enhanced knowledge of the Sudan’s northern Nile. My visit was amidst a steady flow of highly attentive visitors from the world over and an excited but also attentive school party.

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Kirby, Sarah. "Prisms of the musical past: British international exhibitions and ‘ancient instruments’, 1885–1890." Early Music 47, no. 3 (July 24, 2019): 393–407. http://dx.doi.org/10.1093/em/caz043.

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Abstract Nineteenth-century international exhibitions were monumental attempts to represent modernity, ‘progress’ and ‘invention’ through displays of material objects. In materially illustrating a narrative of cultural ‘progress’, these exhibitions sometimes engaged vividly with the past, incorporating displays of historical objects shown in striking contrast to the new manufactures that were their core focus. This article examines musical displays at exhibitions held in London in 1885 and Edinburgh in 1890, where large exhibits of ‘ancient’ musical instruments, scores and related objects were presented. I argue that the display of ‘ancient’ instruments and objects, in blatant contrast to the exhibitions’ theme of modern invention, demonstrates a conceptual breach between past and present, examination of which can reveal larger trends in the late 19th-century’s ambivalent relationship with the past.

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Antonova, Lidia. "«Old London»: Reconstruction of a XVIIth Century Street at Exhibitions of the 1880s." Metamorphoses of history, no. 24 (2022): 0. http://dx.doi.org/10.37490/mh2022242.

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The article analyzes the experience of an original exhibition experiment – the reconstruction of XVII th century buildings at the sites of international exhibitions of the 1880s in London. The circumstances of the origin of the idea and implementation in South Kensington «Streets of Old London» are considered. It was an eclectic set of buildings that really existed in the British capital before the 1666 Great Fire and reproduced in almost original form in 1884. Based on exhibition documents, press publications and photographs, a description is given to the appearance of the «street» and its place within the expositions. Based on photographs and printed sources, a description of the buildings themselves is given: typical urban residential buildings, shops, churches, etc. It is concluded that this example illustrates the educational function of the thematic exhibitions in London, their close interweaving with the problems of the city's architecture, as well as the temporality and transiency of such structures. The last is a characteristic feature of the exhibition space.

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HILL, KATE. "‘Olde worlde’ urban? Reconstructing historic urban environments at exhibitions, 1884–1908." Urban History 45, no. 2 (March 28, 2017): 306–30. http://dx.doi.org/10.1017/s0963926817000220.

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ABSTRACT:From 1884 until the Franco-British Exhibition in 1908, international and national exhibitions had a fad for including reconstructed historic urban streets in their attractions. This article investigates the meaning of such forms of urban heritage in the light of modernizing cities. It shows that ideas about historical authenticity were complex, and traces this to the ways in which staff and employees, and also the big crowds at the displays, co-produced this meaning. It suggests that visitors particularly constructed meaning through haptic and emotional encounters with the past, providing evidence of the development of new memory practices for modernity.

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Abdallah, Monia. "Back to the Future : art contemporain du Moyen-Orient et expositions temporaires au British Museum." Muséologies 9, no. 1 (October 17, 2018): 45–58. http://dx.doi.org/10.7202/1052627ar.

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The confrontation between contemporary and ancient art, within the framework of temporary exhibitions or in the context of permanent collections, is not new, and examples are numerous. This article shows, through a description of a variety of temporary exhibitions organized by the British Museum, bringing together contemporary Middle Eastern and ancient Islamic art, the ideological consequences of such juxtapositions which consistently favour continuity over rift.

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Ergut, Elvan Altan. "Displaying Abroad: Architecture and Town Planning Exhibitions of Britain in Turkey in the Mid-1940s." New Perspectives on Turkey 50 (2014): 145–70. http://dx.doi.org/10.1017/s0896634600006609.

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AbstractThis paper focuses on two exhibitions of architecture and town planning held by Britain in Turkey in the mid-1940s. The use of these exhibitions for propaganda purposes, as well as their reception in the highly politicized context of World War II, requires the study to emphasize the political as well as the professional perspective of the contemporary architectural context. Analyzing why and how these exhibitions were held, and what they displayed as representative of British architecture and town planning, the paper discusses the characteristics of the contemporary discourses and practices of the profession with reference to the national dynamics of each country and their position in the international scene at the dawn of a new era in world history. The aim is to question the relations of power that are conventionally taken to define discursive and practical hierarchies of binary constructs, such as national/international or traditional/modern. Examining the case of the British exhibitions in Turkey, the paper emphasizes instead the necessity of a comparative analysis to evaluate the architectural products in-between or beyond dichotomies as produced in discrete yet interconnected contexts.

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Murphy, Paula. "British Sculpture at the Early Universal Exhibitions: Ireland Sustaining Britain." Sculpture Journal: Volume 3, Issue 1 3, no. 1 (January 1, 1999): 64–73. http://dx.doi.org/10.3828/sj.1999.3.1.7.

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Christensen, Line Hjorth. "At svare plakaten igen. En omgivelsesorienteret strategi for kuratering af plakater og grafisk design." Nordisk Museologi, no. 2 (March 8, 2017): 78–94. http://dx.doi.org/10.5617/nm.4338.

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This article investigates the change of context and meaning makingprocess that occurs when posters are turned into objects for curatorial practice.Based on historical and recent examples of poster exhibitions it suggests ascheme for curatorial work in regard to posters and graphic design lendingfrom phenomenologically and materially orientated theories that give priorityto sensorial aspects of the exhibition media. Further it introduces the concept“counterability” (da.: “gengældelse”, “modydelse”) as a tool for discussing howposters’ dependency on the living environments can be transferred for curatorialpurposes. Finally, the concept is discussed in regard to the exhibition Spot On!British Posters of the Interwar Years which in 2015 was held at the Danish PosterMuseum in Den Gamle By (The Old Town) in Aarhus.

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Hylton, Richard. "Eugene Palmer and Barbara Walker." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 2019): 100–113. http://dx.doi.org/10.1215/10757163-7916904.

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In Britain, black artists are arguably receiving the most sustained level of attention in a generation, from several historical exhibitions and international conferences to academic-based research initiatives and acquisitions by prestigious national museums. While offering artists a certain level of exposure, such initiatives have tended to privilege institutional agendas rather than the very artistic practices they purport to endorse. The paucity of genuine exhibition opportunities and significant publishing are factors that continue to bedevil a wider selection of black British artists. This article focuses on two specific exhibitions and artists: Eugene Palmer’s Didn’t It Rain (2018) and Barbara Walker’s Sub Urban: New Drawings (2015), both organized at the University for the Creative Arts, Farnham, UK. The author stresses the contrasting relationship to photography that each artist pursued in the making of their respective bodies of work and argues for a more engaged assessment of practice. The works of these artists deserve to be recognized for their fascinating and singular contributions to contemporary art practices.

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Chambers, Eddie. "New Directions in Black British Art History." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 2019): 8–17. http://dx.doi.org/10.1215/10757163-7916820.

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This article discusses the changing nature of art history when it comes to black British artists and suggests that such history has perhaps moved away from existing to instead correcting or addressing the systemic absences of such artists from British art. This is typified by Rasheed Araeen’s 1989 exhibition The Other Story, the first major attempt to create a broad black British art history, and several other not dissimilar, exhibitions. The article also considers what changes to the fortunes of a small number of black British artists might be deduced from the awarding of honors by the queen and the extension of membership in the Royal Academy to a handful. The article draws attention to the ways in which major London galleries such as the Institute of Contemporary Arts, the Serpentine, and the Whitechapel have, over the course of the past two decades, hosted the first main-space solo shows of black British artists’ work. With so much having happened to limited numbers of black British artists, this introduction suggests that burgeoning scholarship on these and other artists is timely, and that the articles assembled for this issue of Nka are a reflection of this increased attention. Among its concluding considerations are the ways in which much of this new scholarship emanates from US rather than from British universities. Finally, the article urges a “rescuing from obscurity” of important pioneering texts on black British artists.

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Rawes, Alan, and Eric Gidal. "Poetic Exhibitions: Romantic Aesthetics and the Pleasures of the British Museum." Yearbook of English Studies 34 (2004): 255. http://dx.doi.org/10.2307/3509500.

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Simpson, St J. "The British Museum and the State Hermitage Museum: Collaboration, Exhibitions, Research." Vestnik RFFI, no. 1 (2020): 95–97. http://dx.doi.org/10.22204/2410-4639-2020-105-01-95-97.

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FORGAN, SOPHIE. "Festivals of science and the two cultures: science, design and display in the Festival of Britain, 1951." British Journal for the History of Science 31, no. 2 (June 1998): 217–40. http://dx.doi.org/10.1017/s0007087498003264.

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National exhibitions and festivals perform a number of roles at the same time. In the first half of the twentieth century exhibitions were first and foremost trade fairs, occasions on which to promote British goods but at the same time provide an opportunity for cementing imperial relations. Exhibitions are also sites of aesthetic discourse where, for example, particular architectural or design ideologies may be promoted; in addition, they provide platforms for the conspicuous display of scientific and technical achievement; and finally, they provide opportunities for creating and projecting ideas of national identity, however multi-faceted those might be. Furthermore, in order to encourage the widest possible attendance and popularity, most exhibitions from the late nineteenth century onwards included a large number of purely entertaining attractions, which of course provided places for the mingling of social classes, something that appealed to post-1945 notions of a properly democratic society. Exhibitions therefore always perform a number of functions, some of which may indeed conflict with each other, and need to be analysed on a number of levels.

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Özkan Koç, Esra, and Raziye Çiğdem Önal. "Cultural Propaganda Exhibitions of the British Council in Ankara in the 1940s." Journal of Ankara Studies 9, no. 1 (2021): 109–51. http://dx.doi.org/10.5505/jas.2021.60783.

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Lean, Thomas, and Sally Horrocks. "Good Nuclear Neighbours: the British electricity industry and the communication of nuclear power to the public, 1950s–1980s." Journal of Science Communication 16, no. 03 (July 20, 2017): A09. http://dx.doi.org/10.22323/2.16030209.

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Between the 1950s and the 1980s the British nuclear industry engaged with ordinary people in a wide range of ways. These included articles in the print media, exhibitions and educational resources as well as through open days, developing nature reserves and building relations with the local communities around nuclear sites. This paper draws on recently collected oral history interviews and archival material to consider what was one of the largest and best resourced efforts to communicate science to the British public between the 1950s and the 1980s.

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Ohadi-Hamadani, Maryam. "Denis Williams’s London." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 2019): 18–33. http://dx.doi.org/10.1215/10757163-7916832.

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This article is a study of several works by Guyanese artist Denis Williams and the exhibitions of these works. Williams (1923–98) was a key figure in the history of artists of the then British Empire who made their way to London in the middle of the twentieth century (Williams himself arriving in 1946). The article discusses one of Williams’s most celebrated works, Human World (1950), and examines how the artist’s practice engaged with anticolonial resistance and modernist discourse surrounding abstraction. The author also explores and comments on the exhibitions in which Williams participated during his time in London and the reception his works received from artists and critics.

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Wood, Gillen D'Arcy. "Poetic Exhibitions: Romantic Aesthetics and the Pleasures of the British Museum. Eric Gidal." Wordsworth Circle 33, no. 4 (September 2002): 159–60. http://dx.doi.org/10.1086/twc24044213.

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Blythe, Jim. "The evaluation of non‐selling activities at British trade exhibitions: an exploratory study." Marketing Intelligence & Planning 14, no. 5 (September 1996): 20–24. http://dx.doi.org/10.1108/02634509610127536.

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WOODHAM, J. "Images of Africa and Design at the British Empire Exhibitions between the Wars." Journal of Design History 2, no. 1 (January 1, 1989): 15–33. http://dx.doi.org/10.1093/jdh/2.1.15.

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Hanussek, Benjamin. "Enhanced Exhibitions? Discussing Museum Apps after a Decade of Development." Advances in Archaeological Practice 8, no. 2 (May 2020): 206–12. http://dx.doi.org/10.1017/aap.2020.10.

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OverviewThe introduction of the smartphone into the private and professional lives of humans has provided a channel to real-time and place-specific information that can enhance (and disturb) day-to-day living. Given such impact, many museums and archaeological exhibitions have chosen to develop digital applications to enhance the visitor experience via accompanying the visitor through the exhibitions. Yet after a decade, these applications still seem understudied and, in practice, very undeveloped. This review aims to shed some light on the possibilities and shortcomings of museum apps. I discuss and critically evaluate the technical efficiency, practical utility, and user experience of the British Museum Guide (Museums Guide Ltd.) and My Visit to the Louvre (Musée du Louvre) applications. These two mobile apps represent the contemporary standard for museum apps, thereby allowing me to generalize about this genre of digital media.

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Rawes, Alan. "Poetic Exhibitions: Romantic Aesthetics and the Pleasures of the British Museum by Eric Gidal." Yearbook of English Studies 34, no. 1 (2004): 255–56. http://dx.doi.org/10.1353/yes.2004.0051.

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Leask, Nigel. "Review: Poetic Exhibitions: Romantic Aesthetics and the Pleasures of the British Museum Eric Gidal." History Workshop Journal 56, no. 1 (2003): 267–71. http://dx.doi.org/10.1093/hwj/56.1.267.

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Lazzeretti, Cecilia. "A Landscape Never Goes Out of Style. Diachronic Lexical Variation in Exhibition Press Announcements." HERMES - Journal of Language and Communication in Business 27, no. 52 (January 6, 2017): 107. http://dx.doi.org/10.7146/hjlcb.v27i52.25138.

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The paper focuses on diachronic lexical variation in a professional textual genre which has gained growing importance over time in the fi eld of museum public relations and art discourse: exhibition press announcements (EPAs). The aim of the analysis is to investigate the language of EPAs from a diachronic perspective in order to identify word frequencies showing large increases or decreases, or stability in word frequencies. Baker’s (2011) method to distinguish variation over time across multiple corpora was applied and particular attention was placed on the presence of “lockwords”, i.e. words “relatively static in terms of frequency” (Baker 2011: 66). The analysis is carried out on a corpus of EPAs dating from 1950 to 2009 issued by American and British museums. The study reports on a number of trends relating to linguistic and cultural change of EPAs, including the emergence of new criteria in assessing the value of artists and artworks despite a certain consistency in terms of subjects, the shift from one-item to multi-item exhibitions and the preference for more vivid and straight-forward descriptions. For instance, the frequency of the noun landscape has remained stable over time, suggesting that this subject is particularly consistent in art displays, quite a sort of classic, that never grows old, while the artist's career – a word showing a clear pattern of growth – has become particularly valuable over time for museum professionals in charge of exhibitions.

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Liscombe, Rhodri Windsor. "Refabricating the Imperial Image on the Isle of Dogs: Modernist Design, British State Exhibitions and Colonial Policy 1924–1951." Architectural History 49 (2006): 317–48. http://dx.doi.org/10.1017/s0066622x0000280x.

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Historical analysis of the 1951 Festival of Britain has tended to overlook its ideological genealogy, and also to give less consideration to the Exhibition of Architecture, Town Planning and Building Research at Lansbury in Poplar on the Isle of Dogs than to the architecture and displays at the South Bank site (Figs 1 and 2). That genealogy reflects an intersection between the formulation of colonial policy and the adaptation of Modern Movement theory and practice during the final phase of British imperialism. Consequently the purpose of this paper is to recover various aspects of this intersection, during the nearly three decades from the British Empire Exhibition of 1924. Focusing on design practice in the Empire, especially the national exhibition buildings erected at those major international expositions that led up to and culminated in the Festival of Britain, it also examines the wider representation of architectural and colonial development in professional media and public propaganda.

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Ying-Ling Huang, Michelle. "Introducing the art of modern China: trends in exhibiting modern Chinese painting in Britain, c.1930–1980." Journal of the History of Collections 31, no. 2 (August 23, 2018): 383–401. http://dx.doi.org/10.1093/jhc/fhy017.

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Abstract By 1930, the British public took a stronger interest in early Chinese art than in works produced in the pre-modern and modern periods. However, China’s cultural diplomacy in Britain during war-time, as well as the interactions between collectors, scholars and artists of both countries, helped refresh Occidental understanding of the tradition and recent achievements of Chinese art. This article examines the ways in which modern Chinese painting was perceived, collected and displayed in Britain from 1930 to 1980 – the formative period for the collecting and connoisseurship of modern Chinese art in the West. It analyses exhibitions of twentieth-century Chinese painting held in museums and galleries in order to map trends and identify the major parties who introduced the British public to a new aspect of Chinese pictorial art. It also discusses prominent Chinese painters’ connections with British curators, scholars and dealers, who helped establish their reputation in Britain.

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Kavanagh, Gaynor. "Melodrama, pantomime or portrayal?: Representing ourselves and the British past through exhibitions in history museums." International Journal of Museum Management and Curatorship 6, no. 2 (June 1987): 173–79. http://dx.doi.org/10.1080/09647778709515064.

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McLoughlin, Marie. "Fashion, Royalty, and British Identity: Fashion Exhibitions in London in the Year of the “Jubilympics”." Fashion Theory 17, no. 4 (September 2013): 467–82. http://dx.doi.org/10.2752/175174113x13673474643282.

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Kavanagh, G. "Melodrama, Pantomime or Portrayal? Representing ourselves and the British past through exhibitions in history museums." Museum Management and Curatorship 6, no. 2 (June 1987): 173–79. http://dx.doi.org/10.1016/0260-4779(87)90007-0.

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Helland, Janice. "Philanthropic Fashion: Ireland, 1887–1897." Costume 48, no. 2 (June 1, 2014): 172–92. http://dx.doi.org/10.1179/0590887614z.00000000049.

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During the nineteenth century a number of aristocratic women promoted British-made textiles by wearing garments made from domestic cloth. Royalty, too, regularly endorsed this British-made cloth by wearing gowns of British manufacture frequently trimmed with English or Irish lace. Beginning in the late 1880s, however, a more organized and sophisticated relationship developed between Irish textiles and fashion and, by the 1890s, this link was both assiduously promoted and systematically marketed. The Irish Industries Association, founded by Ishbel, Countess of Aberdeen in 1886 to promote craft and alleviate poverty in Ireland, was supported by a number of British and Irish aristocrats. The Association organized exhibitions in London, established a rapport with women’s magazines, such as Lady’s Pictorial, Gentlewoman and Queen, The Lady’s Newspaper, and encouraged fashionable shops to view, buy and promote garments made from Irish wool, lace and linen. Thus Irish textiles moved from the Celtic fringe to the metropole, and from there on to the bodies of the rich and famous. It is this highly organized appeal to consumers that I shall explore here as philanthropy colluded with the market to produce fashion.

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WESSELING, H. L. "Editorial: the American Century in Europe." European Review 12, no. 2 (May 2004): 123–26. http://dx.doi.org/10.1017/s1062798704000122.

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In 1999, the Whitney Museum of American Art had a very successful exhibition called The American Century. Indeed, there were two exhibitions, The American Century, Part I about the first half of the 20th century and Part II dealing with the following 50 years. The presentation was divided up into decades, each of them having its own motto. The one for the 1950s was: ‘America takes command’. This may sound rather martial but the motto is indeed very appropriate, as one could argue that as from then on American leadership also included cultural leadership.The name of the exhibition, ‘The American Century’, was of course derived from the title of the famous article that Henry Luce, the editor/publisher of journals such as Life and Time, published in Life on 17 February 1941. Luce wanted the Americans to play a major role in the war for freedom and democracy that was in progress at that time and the building of the better world that would have to come after that. In his article Luce insisted that ‘our vision of America as a world power includes a passionate devotion to great American ideals’. The idea of America as a world power and, indeed, as the world power of the future, is, of course, much older than the concept of the 20th century as the American century. Already in 1902, the British liberal journalist and advocate of world peace through arbitration, W.T. Stead published a book with the title The Americanization of the World, or the Trend of the Twentieth Century. According to Stead, the heyday of the British Empire was over and the US was the Empire of the future. The enormous success of America was due to three things: education, production and democracy. Britain's choice was between subjugation or cooperation. Stead even proposed the merger of the two countries. In the following decade, this idea that America was Britain's successor and that the two countries should – and could – form a union because of their intimate familiarity, became popular among British writers.

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Shaw, Samuel, and Barbara Pezzini. "Exhibitions and the Market for Modern British Art: Independent Art of Today at Agnew's Gallery, 1906." Art History 43, no. 4 (August 4, 2020): 710–40. http://dx.doi.org/10.1111/1467-8365.12519.

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McKellar, Erin. "Designing the Child’s World: Ernö Goldfinger and the Role of the Architect, 1933–1946." Journal of Design History 33, no. 1 (May 24, 2019): 50–65. http://dx.doi.org/10.1093/jdh/epz024.

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Abstract Before Hungarian-born British architect Ernö Goldfinger became known for designing large-scale urban housing and office developments, he built a reputation designing toys, furnishings, interiors and exhibitions for and about children. Focussing on these projects, this article investigates how the architect sought to create a lasting audience for modern architecture by teaching children how to navigate the world independently. By looking at these projects, it is also possible to see how Goldfinger, and other architects, have bridged disciplinary categories by encompassing aspects of industrial, interior, urban and graphic design as part of a broad definition of architecture.

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EWEN, SHANE. "The internationalization of fire protection: in pursuit of municipal networks in Edwardian Birmingham." Urban History 32, no. 2 (August 2005): 288–307. http://dx.doi.org/10.1017/s0963926805003007.

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Through a case study of Birmingham fire brigade, this article examines the plethora of international networking activities undertaken during the late Victorian and early Edwardian period. Birmingham fire brigade, under the control of Alfred Tozer, led British municipal participation in early international fire networks, attending international congresses and exhibitions in Berlin and London, and also visiting continental cities to inspect fire brigades and their appliances. Locating the study firmly within historical debates concerning the embryonic international municipal movement, this article demonstrates that municipal institutions participated in networking activities as part of a policy learning and knowledge-transfer process.

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Edwards, Jason, Amy Harris, and M. G. Sullivan. "Cunningham, Chantrey and Gibbons: winged words on nation and nature, c. 1829-57." Sculpture Journal: Volume 29, Issue 3 29, no. 3 (December 1, 2020): 337–60. http://dx.doi.org/10.3828/sj.2020.29.3.6.

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In this article, the authors explore the nineteenth-century British reception of Gibbons through a number of closely related images, objects and texts, frequently focusing on the bodies of dead birds. The article commences with Allan Cunningham’s pivotal 1830 account of Gibbons at the start of his Lives of the Most Eminent Sculptors, which made the influential claim that the sculptor was the heir to a ‘natural’ decorative carving tradition and father to an indigenous British school, resistant to the idealism and allegory that characterized continental classicism. The authors go on to explore Gibbons’s key status in Francis Chantrey’s contemporaneous Woodcocks (c. 1829-34) for Holkham Hall, which employed Gibbons’s idiom to emphasize Chantrey’s related status as a paradigmatic British sportsman and sculptor. The article then examines how these characterizations of Gibbons took hold at the mid-century Great Exhibitions and at the Victoria and Albert Museum, before concluding with a close reading of an obscure, but deeply revealing 1857 meditation on Chantrey’s Woodcocks, and on Gibbons before him, that reveals the complex attitudes the Victorians had in relation to the spectacle of dead animals.

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James, N. "Can a museum explain imperialism?" Antiquity 82, no. 318 (December 1, 2008): 1104–10. http://dx.doi.org/10.1017/s0003598x00097817.

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Empires produced some of the ancient world's grandest monuments. No doubt that helps to account for successive major exhibitions recently mounted at the British Museum.The First Emperor: China's Terracotta Armyclosed in April 2008, having drawn more visitors than any other sinceTreasures of Tutankhamunin 1972 (British Museum 2008: 66). There followed, from July to October, impressive and intriguing pieces on Hadrian, the Roman Emperor of the second century AD. The attention to large political systems is timely (James 2008: 201). Twenty-five years ago, Donald Horne (1984: 252) went so far as to declare that 'in the popularisations … of the huge storehouse of … artifacts … that are such an extraordinary feature of our age. … we may find the only real potential for giving substance to human liberation'. Is this feasible in practice; and, if so, is a state museum with business sponsorship a likely place to find such enlightenment? Studying the archaeology inHadrian, withThe First Emperoras a foil, enabled us to assess these questions.

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GOYLE, SONAKSHI. "TRACING A CULTURAL MEMORY: COMMEMORATION OF 1857 IN THE DELHI DURBARS, 1877, 1903, AND 1911." Historical Journal 59, no. 3 (March 1, 2016): 799–815. http://dx.doi.org/10.1017/s0018246x15000424.

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ABSTRACTThe three imperial durbars held in Delhi for the coronation of British monarchs as the rulers of India were gatherings of royalty, administration, and the military, organized in the years 1877, 1903, and 1911. As impressively invented, improvised, and self-styled orientalist representations of the late Victorian tradition, these durbars were pageants of power, prestige, and authority, creations of their organizing viceroys: Robert Lytton (1877), George Curzon (1903), and Charles Hardinge (1911). But, as this article shows, they were also commemorative exhibitions of the triumphant memory of the event of 1857 (variously called the Indian Mutiny, Sepoy war, War of Independence), especially in Delhi which had to be emphasized regularly for perpetuating myths about British superiority and invincibility. Spread over a period of thirty-five years, these rituals of commemoration were performed through four illustrative choices. These were the selection of site, selection of mutiny veterans as participants, the construction of mutiny memorials, and contribution to the growth of mutiny pilgrimage tours. Drawing attention to the successive formation of 1857 as a seminal ‘cultural moment’ through its periodic commemoration, the present article brings to focus the enduring significance of the event for the British empire in India, which had to be re-visited time and again for purposes of legitimation and cultural appropriation.

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Blakeley, Brian L. "The Society for the Oversea Settlement of British Women and the Problems of Empire Settlement, 1917–1936." Albion 20, no. 3 (1988): 421–44. http://dx.doi.org/10.2307/4049737.

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The “deluge” of World War I not only produced change within British society, but it intensified governmental and societal interest in the empire. This trend occurred for several reasons. Britain's wartime co-operation with her dominions led many Britons to assume that this new imperial unity could, and should, be cultivated in the post-war period. The imperial pessimism generated in some circles by the tragedy of the Boer War faded from the public's memory. Equally important, however, by 1917 the government was conscious of the serious economic and social problems Britain would confront once victory had been attained. One of several imperial solutions studied extensively during the war was state supported emigration. The government, which since 1914 had played an increasingly prominent role in solving society's problems, believed that emigration would serve a variety of useful purposes. It would alleviate the distress of thousands of British women, it would accelerate the economic and social development of the dominions, and it would strengthen the British Empire, giving it the power and self-assurance necessary to carry out its diplomatic and military roles in the post-war world. During the course of these deliberations during and immediately after World War I, the importance of women to any comprehensive strengthening of the empire was fully accepted by the government for the first time in British history.The growth of interest in government sponsored imperial migration, including that of women, did not occur, however, in a vacuum. The 1920s and 1930s were, as it is increasingly recognized, “a great age of British Imperialism,” during which the “mass pheonomena of Empire—the Empire Shopping Weeks, the Empire Exhibitions and Empire Day celebrations” became a prominent part of the British social scene.

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Buck, Olivia. "Beyond the Basics." Journal of Interpretation Research 15, no. 1 (April 2010): 45–49. http://dx.doi.org/10.1177/109258721001500105.

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Much has been written about accessible text, regarding word counts, active rather than passive tense, straightening out sub-clauses and so on. This is now becoming embedded in good museum writing practice. At the British Museum, our aim is to maximize visitors’ engagement with our collections. Beyond the basic guidelines outlined above and in the light of the results of recent visitor research and evaluation we have begun to look again at the way in which we write interpretive text. This article focuses on writing text for permanent galleries, rather than temporary exhibitions, and uses the recent Japan Gallery as a case study. The article also aims to provide some practical tips for writing and the interpretation process.

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Dormois, Jean-Pierre, and François Crouzet. "The Significance of the French Colonial Empire for French Economic Development (1815–1960)." Revista de Historia Económica / Journal of Iberian and Latin American Economic History 16, no. 1 (March 1998): 323–49. http://dx.doi.org/10.1017/s021261090000714x.

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In May 1940, among panic-stricken ministers and politicians, General de Gaulle was virtually alone to reflect and proclaim that France was not vanquished as long as it retained its colonial empire, which would serve as the springboard for France's future liberation and status as a world power. Not many of his contemporaries shared his conviction, and his loneliness testifies to the detachment of public opinion and politicians vis-a-vis an empire which in extent ranked second only to the British. In spite of the headlines, newsreels, slogans, colonial exhibitions and propaganda, most Frenchmen would have probably agreed that, over the years, the mother country had spent more on its colonies than it had received.

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Ryder, Lewis. "The Hilditch–McGill Chinese Palace Temple: Exhibitions, Mass Culture, and China in the British Imagination in the 1920s." Twentieth Century British History 33, no. 1 (December 14, 2021): 129–53. http://dx.doi.org/10.1093/tcbh/hwab038.

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Abstract In February 1926, Chinese art collector John Hilditch opened the Hilditch–McGill Chinese Palace Temple in Manchester. Filling a garage with Chinese objects and performing what he claimed to be Buddhist rituals, Hilditch insisted the temple offered visitors a chance to see Chinese art in ‘actual Chinese fashion and atmosphere’. This article analyses Hilditch’s attempts to construct an authentic temple and visitor accounts of its realism to analyse the relationship between high and low culture, and how China was understood and imagined in the 1920s. It shows how Hilditch’s combination of sensory effects adopted from mass culture and claims to museum notions of scientific verification, in addition to the projection of well-established stereotypes of China, skewed understandings of authenticity and invited faith—albeit most likely ‘ironic’ faith—in the temple’s legitimacy. Scholars have argued that the rise of mass culture prompted art museums to restructure on high cultural values but interpretation of the temple as a museum shows that the lines between mass culture and museums were blurred. The temple thereby encourages a broader definition of museums and complicates our understanding of interwar culture more generally by showing how the categories of high and low culture were less stable than some scholars have presumed.

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James, N. "Great Men in the jungle of nations." Antiquity 84, no. 323 (March 1, 2010): 236–40. http://dx.doi.org/10.1017/s0003598x00099907.

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Moctezuma, Aztec ruler was the last of four big temporary exhibitions about ‘world rulers’ that the British Museum has put on in the past three years. Moctezuma was the king who received Cortés and the Conquistadores in 1519 and was killed the next year in their custody. The previous three exhibitions were on the First Emperor of China, the Roman Emperor, Hadrian, and Shah ‘Abbas, respectively. Hadrian and The First Emperor were archaeological (James 2008a, 2008c). So was Moctezuma. It ran from September 2009 to January 2010.Kingship is evidently in vogue among London’s galleries. During The First Emperor’s showing, Tutankhamun entertained on the other side of the river (James 2008b); and the Victoria & Albert Museum mounted Maharaja during Moctezuma’s run. There are good reasons for thinking about kings in any society, regardless of political constitution, because, in their coronations, their deeds and their deaths or funerals, they are ‘collective representations’. Whether as heroes or as scapegoats, democracies tend to promote ‘celebrities’ by the same token and, as well as governing, perhaps monarchs, ancient or contemporary, served and serve that function too. Historians, sociologists and anthropologists have tackled these themes through comparison and so have archaeologists, with epigraphy, iconography and the excavation of palaces and tombs (Blanton et al. 1996; Quigley 2005).

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Butcher, Roger. "The Application of IT in the St Pancras Building of the British Library." Alexandria: The Journal of National and International Library and Information Issues 7, no. 2 (August 1995): 83–96. http://dx.doi.org/10.1177/095574909500700203.

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The new British Library building at St Pancras will depend heavily on IT systems. It will be used for basic reader services such as gaining access to the reading rooms, searching the catalogue, and retrieving items from closed storage and delivering them to the right reading room and reader. Systems for the main reader services, particularly the Online Catalogue, which have already been implemented in existing reading rooms, will continue to be developed before St Pancras opens; under current plans there will be 450 catalogue terminals in the completed building. These systems will make it possible to collect much more data on ways in which the building and services are used. Other IT systems will monitor and control the operation of the building itself. Even the exhibitions will have IT systems to augment the displays. Services that can be accessed remotely will also be offered by means of telecommunication networks. The completed system will comprise some 5,700 monitoring and control points distributed across about 110 outstations, all connected by a looped network into a central control supervisor.

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Bois, Yve-Alain. "Angels with Guns: A Memoir on Guy Brett (and David Medalla)." October, no. 179 (2022): 11–77. http://dx.doi.org/10.1162/octo_a_00447.

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Abstract In this memoir—which is part diary, part scrapbook—Yve-Alain Bois sifts through his nearly half-a-century correspondence with the British art critic Guy Brett to recount their friendship and evoke the numerous exhibitions the latter curated as well as the many books and catalogues he wrote, from his publications on Kinetic art and Helio Oiticica in the 1960s to his pioneering forays into contemporary art in the global South from the 1970s on. (Four short texts previously published by Bois on Brett's work are interspersed in the narrative). Particular attention is given to the Filipino artist David Medalla and the Brazilian artist Lygia Clark, whom Brett championed all his life and whose work and tribulations are discussed throughout.

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McDade, Marci Rae. "Deep Local Exhibitions Highlights Review Textile Society of America 2018 Symposium Vancouver, British Columbia, Canada September 19–23, 2018." Journal of Textile Design Research and Practice 7, no. 1 (January 2, 2019): 124–38. http://dx.doi.org/10.1080/20511787.2019.1575068.

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Heinonen, Alayna. "A Tonic to the Empire?: The 1951 Festival of Britain and the Empire-Commonwealth." Britain and the World 8, no. 1 (March 2015): 76–99. http://dx.doi.org/10.3366/brw.2015.0168.

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A unique feat of an economically and physically ravaged post-war Britain, the 1951 Festival of Britain produced an ‘autobiography of a nation’ intended to instill a nationalistic sense of recovery after total war. Centrally located on the South Bank, the Festival hosted a series of exhibitions celebrating British achievements in the fields of industry, science, technology, architecture, and the arts. With few exceptions, the vast majority of scholarship assesses the Festival through its national framework, and as an attempt to facilitate post-war economic recovery under the Labour government. This article re-examines the imperial concerns underlying the Festival amidst profound global changes in the post-war era. The ‘centrifugal’ development of the inter- and post-war Commonwealth fatally compromised administrative efforts to cultivate a tonic to the Empire through Festival exhibits. Former colonies and Dominions, emboldened by their independence from the metropole, refused to partake in an event that idealised a modernity that rested only in Britain. Representatives from India, Pakistan, and Ceylon, as new Commonwealth members, dissented against indications of their inferior status. These complications during the Festival's organisation expose the fractures in the transition from an exclusive, British-led Commonwealth to a multiracial Commonwealth.

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Gąsior, Mariusz. "Transforming Photographs into a Digital Catalogue." Culture Unbound 14, no. 2 (July 7, 2022): 11–37. http://dx.doi.org/10.3384/cu.3971.

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In this article I focus on three aspects of the digitisation of photographic collections which I have had the opportunity to deal with professionally in two museums, in the UK and Poland. In 2014, the Imperial War Museum in London (IMW) implemented an online project of the portal/monument, Lives of the First World War, commemorating all citizens of the British Commonwealth who took part in the First World War (WWI), both in uniform and in civil services. Users registered on the portal could attach documents, photographs, reports to each commemorated soldier-keyword, thus expanding the database. One of the key elements of the project was a collection of portrait photographs bearing the title Bond of Sacrifice. These comprised over 16,000 photographs of soldiers of the British Commonwealth, handed over to the Museum by their families in the years 1917–1919. After nearly a hundred years, the Museum decided to comprehensively develop, digitize, and make the collection available in the form of an online catalogue. In the meantime, the Museum digitised a huge collection of WWI photographs, the so-called Q Series (ca. 115,000), the most important part of which was British official photography. By 2016, the entire collection was scanned and made available in an external catalogue of the Museum on the basis of a non-commercial license. Since then, the photographs have taken on a life of their own: they are used in academic works, press articles, TV productions, and in social medias. The second project includes numerous photographs of the Polish Armed Forces. This phenomenon is dealt with in the second part of this paper, which discusses the online photographic collection of the Silesian Museum in Katowice. The third and final part of this article is devoted to the impact of digitization and on-line accessibility on the making of temporary exhibitions. This is explained using the example of the author’s last exhibition at the museum about women in industry; based entirely on digital reproductions of photographs from the collections of many museums from Europe and the U.S., amongst others the US National Archives and the IWM. This is due to the fact that the author selected the entire material with the use of online catalogues of these very institutions.

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Journal articles on the topic 'British exhibitions'

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