British Museum blog

Selecting objects, X Factor style

Eleanor Bradshaw, Assistant Curator

As part of the first cohort of Inspire curating MA students at the Royal College of Art, I have had the unique opportunity to work at the British Museum for the last two years, and my time is finally coming to an end! The Art Council’s Inspire programme is unique in that it is a course aimed at BAME (Black, Asian and minority ethnics) in an attempt to diversity the arts and cultural heritage workforce, hoping to bring with it some different outlooks, perceptions and ideas.

Throughout the lead up to the exhibition Grayson Perry: The Tomb of the Unknown Craftsman (which was an incredibly tight eight months) I was heavily involved with the initial curation and planning of the exhibition, as well as working closely with Grayson himself in selecting nearly 200 British Museum objects to go on display. Grayson planned on displaying about 30 of his own works which he wanted to sit – sometimes in juxtaposition and sometimes in harmony – with objects from the Museum collection.

Before we met, Grayson had taken photographs of over 900 objects from the collection, which he brought to me in a Tupperware box. These ranged from miniature Japanese pocket shrines to large Chinese tomb bricks and prints of the infamous transvestite Chevalier d’Eon.


A Ghanaian Asafo banner in the British Museum collection

Together, we decided it would be sensible to cull the photographs (and therefore objects) down to about 200 so they would actually fit in the exhibition space. Grayson decided he would play the role of Simon Cowell, so luckily that made me Cheryl. The selection process was truly fascinating to watch. Grayson chose many of the objects because they referenced his own works beautifully. For example, an Asafo banner connects really well with his tapestry Hold Your Beliefs Lightly. Also included in the exhibition are some late seventeenth century German stoneware jugs, which could almost be mistaken for his own ceramic pieces.

Grayson Perry, Hold Your Beliefs Lightly, 2011. © Grayson Perry

Objects were also chosen in relation to certain elements or themes of the exhibition, such as pilgrimage and the craftsman. In some cases he did not choose an object based on the aesthetic, for example the Department of Prints and Drawings has several maps of Pilgrims Progress but Grayson chose his least favourite and the least decorative simply because visually it was easier for the audience to decipher. Conversely some objects were chosen because they were purely spectacular, such as the ornate gold ceremonial headdress from Ghana.

Once selected, I had the daunting task of locating all 200 objects. Luckily, Grayson has almost total recall and could remember what every single object was, what department it was from and if not the name of the curator responsible, then whether or not they had a beard!

Throughout the selection process, many people have questioned why a contemporary artist like Grayson Perry would want to do an exhibition at the British Museum. I think this provokes a very interesting question: can the contemporary and the historical speak intimately to each other and create an interesting dialogue, or should they be kept apart?

Grayson Perry takes you behind the scenes of the making of this exhibition in a new BBC documentary. Come along to free screenings at the Museum on 10 November or 1 December 2011.

Grayson Perry: The Tomb of the Unknown Craftsman
is supported by AlixPartners, with Louis Vuitton.
Book tickets now

Filed under: Exhibitions, Grayson Perry: The Tomb of the Unknown Craftsman

3 Responses - Comments are closed.

  1. David Samila says:

    This is a fascinating account of your experience working with Grayson Perry, particularly how you describe the process of choosing pieces for the exhibition.

    Like

  2. Pearl Stanley says:

    I can’t wait to see this exhibiion.

    Like

  3. emmalbetts says:

    Thanks for the interesting blog post, Can’t wait to visit this exhibition.

    Like

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 10,315 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

This is our next gallery space in the #MuseumOfTheFuture series. It's Room 64, the Raymond and Beverly Sackler Gallery of Early Egypt. Rapid advances in the technology and social organisation of Egypt during the 5th millennium BC produced a material culture of increasing sophistication. Further innovations followed in about 3100 BC when the separate Predynastic peoples of Upper and Lower Egypt were united under a single ruler. The resulting increase in wealth and strong central control led to dramatic achievements in architecture, writing and fine goods, culminating in the building of the Great Pyramids of Giza in around 2600 BC.
Objects on display in Room 64 illustrate the cultural, technological and political development of early civilisation in Egypt throughout this period. In this picture you can see Gebelein Man, a mummy who was naturally preserved in the desert sands, and who used to have the unofficial nickname of Ginger (although the Museum doesn't use this name). In the background you can see an interactive virtual autopsy of the mummy which was installed in the newly refurbished gallery last year. It's Toulouse-Lautrec's 150th birthday! Here's his poster for a Parisian cabaret 
#history #art #artist #Paris Although this gilded cartonnage mask of a mummy conveys vitality and alertness, the features are more bland and idealised than those of other masks. The eyes, ears, nose, mouth and chin are highly stylised and not fully integrated into the face. The collar, the wig and the necklace with an ankh (‘life’) pendant, are attributes showing that the deceased has entered the afterlife and been assimilated with the gods. A winged scarab beetle on the top and images of gods on the back also emphasise the funerary character of the mask.

The use of gold was connected to the belief that the sun god Re, with whom the mummy hoped to be united, had flesh of pure gold. The back of the wig is decorated in many colours, with a row of deities, a ba and falcon with outstretched wings and seven short columns of near-unintelligible hieroglyphs.

See this cartonnage mask in our exhibition #8mummies – now extended until 19 April 2015.
#MummyMonday #mummies Another #MummyMonday space: it's Room 63 – together with Room 62 known as the Roxie Walker Galleries of Egyptian death and afterlife: mummies. Possibly the most famous galleries in the Museum, they are the next spaces in our #MuseumOfTheFuture series. Death and the afterlife held particular significance and meaning for the ancient Egyptians. Complex funeral preparations and rites were thought to be needed to ensure the transition of the individual from earthly existence to immortality.
Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. As it's #MummyMonday here's Room 62 – together with Room 63 known as the Roxie Walker Galleries of Egyptian death and afterlife: mummies. Possibly the most famous galleries in the Museum, they are the next spaces in our #MuseumOfTheFuture series. Death and the afterlife held particular significance and meaning for the ancient Egyptians. Complex funeral preparations and rites were thought to be needed to ensure the transition of the individual from earthly existence to immortality.
Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. It's time for our next #MuseumOfTheFuture gallery space. This is Room 61, the Michael Cohen Gallery of Egyptian life and death (the tomb-chapel of Nebamun). The British Museum acquired 11 wall-paintings from the tomb-chapel of a wealthy Egyptian official called Nebamun in the 1820s. Dating from about 1350 BC, they are some of the most famous works of art from ancient Egypt.
Following a 10-year period of conservation and research, the paintings were put on display together for the first time in 2009. They give the impression of the walls of colour that would have been experienced by the ancient visitors to the tomb-chapel.
Objects dating from the same time period and a 3D animation of the tomb-chapel help to set the tomb-chapel in context and show how the finished tomb would have looked. (There is no Room 60 in the British Museum.)
Follow

Get every new post delivered to your Inbox.

Join 10,315 other followers

%d bloggers like this: