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

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English sculptor Henry Moore was born #onthisday in 1898.
Drawing played a major role in Henry Moore's work throughout his career. He used it to generate and develop ideas for sculpture, and to create independent works in their own right.
During the 1930s the range and variety of his drawing expanded considerably, starting with the 'Transformation Drawings' in which he explored the metamorphosis of natural, organic shapes into human forms. At the end of the decade he began to focus on the relationship between internal and external forms, his first sculpture of this nature being 'Helmet' (Tate Collections) of 1939.
This drawing titled ‘Two Women: Drawing for sculpture combining wood and metal’ was based on a pencil study entitled ‘Ideas for Lead Sculpture’. It reflects his awareness of surrealism and psychoanalytical theory as well his abiding interest in ethnographic material and non-European sculpture; the particular reference in this context is to a malangan figure (malangan is a funeral ritual cycle) from New Ireland province in Papua New Guinea, which had attracted his interest in the British Museum. 
Henry Moore, Two Women: Drawing for sculpture combining wood and metal. England, 1939. Here's another fabulous view of the Great Court captured by @whatinasees at our instagramer event #regram #repost
Check out all of the photos at #emptyBM Vincent van Gogh died #onthisday in 1890. Here's a print of his only known etching. It depicts his doctor, Dr Paul Gachet, seated in the garden of his house.
#vanGogh #etching Beatrix Potter was born #onthisday in 1866. Here are some of her flopsy bunnies! 🐰
#BeatrixPotter Made in AD 700, the exquisite Hunterston brooch was found at Hunterston, Ayrshire during the 1830s. It is a highly accomplished casting of silver, richly mounted with gold, silver and amber decoration. It is sumptuously decorated with animals executed in gold wire and granules, called filigree. In the centre of the brooch is a cross flanking a golden ‘Glory’ representing the risen Christ #MedievalMonday
The Hunterston brooch will feature in our forthcoming #Celts exhibition, on loan from @nationalmuseumsscotland. Encounter an African contribution to the global carnival tradition through contemporary artist @zakove’s Moko Jumbie sculptures in the Great Court. These spectacular 7-metre-high male and female figures in striking black and gold costumes are inspired by aspects of African masquerade. #ZakOve
Find out more about our #Africa season this summer with events and displays at www.britishmuseum.org/whats_on/celebrating_africa.aspx
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