British Museum blog

Looking again…

The Expulsion from Paradise, Giulio Benso, 1610-1670


Sarah Longair, education manager, British Museum

We spend much of our time here at the Museum analysing, researching and contextualising objects and finding ways to communicate effectively with our visitors. So when the chance to bring a fresh perspective on our collection comes along, it’s always a great moment: challenging us and our visitors to think again.

Late in July, the result of an exciting collaboration between the British Museum and a group of Year 12 students from Camden School for Girls went on show in Room 90 in the display: ‘Isolation: from text to image’.

The project originated late last year, when Hugo Chapman, Keeper of Prints and Drawings at the British Museum, and our Schools and Young Audiences team decided to invite students to curate a display of works from the collection. We particularly wanted to encourage an innovative yet relevant approach to looking at the collection so we approached English literature students and asked them to use texts they are studying as inspiration. The literary sources, which included Hamlet, the Great Gatsby, The Rime of the Ancient Mariner, John Osborne’s Look back in Anger and Keats’s poetry, would definitely give varied and intriguing possibilities through which to look at the collection.

The Expulsion from Paradise, Giulio Benso, 1610-1670.

The Expulsion from Paradise, Giulio Benso, 1610-1670.

From those who applied, an enthusiastic, inquisitive and thoughtful group of 12 students was selected to participate as an extra-curricular activity. We were very impressed by their commitment during two very busy school terms. I went to the school to deliver seminar-style sessions at the end of the school day and the group came to the Museum several times. During the Museum sessions, we discussed different approaches to drawing inspiration from images, the varied ways in which their texts related to images, how to measure and evaluate audience behaviour and practiced writing a succinct but engaging display label.

In one of the early discussion sessions, students selected ‘isolation’ as a theme which bound their texts together. From a long-list created by curators, the students selected prints and drawings to look at in the Museum’s print room.

One of the students explained how access to the original print, after seeing reproductions, was a powerful experience:

“Seeing these images gradually unfurled from their protective cloths, amid the hush of the Prints and Drawings room, is not one I will forget in a very long time.”

Left with the freedom to write creatively, they experimented in a variety of styles: in prose and poetry; as a participant in the image; from the perspective of the artist; as a character from their set text. From these various experiments, they created a final label for their selected print.

Together they decided how to arrange the works – an exercise in diplomacy for all concerned – and joined in with hanging them. One of them described their overall experience:

“The result is an exhibition that is incredibly varied. You will find a drawing by the seventeenth century Italian artist Giulio Benso beside modern artists such as Isidoro Ocampo and George Bellows. Linking such images to set texts has proved fascinating – even with prints and drawings that appeared to have concrete interior storylines, it was possible to illustrate our individual responses to our chosen texts, whether through creative or analytical writing.

If our accompanying texts make you look again at the image we have been describing, we’ve done our job. The result is an exhibition that is not only the culmination of an incredible learning process, but also one of which we are all genuinely proud.”

We were extremely impressed by the students’ thoughtful interpretations which really do make you look again at the image. We’d like to thank them for their commitment to this unique project and we hope that visitors will also be excited by this fresh perspective on the collection from these young writers.

Isolation: from text to image is on display in Room 90 until 3 September 2012

If you would like to leave a comment click on the title

Filed under: At the Museum, Collection

2 Responses - Comments are closed.

  1. ritaroberts says:

    This sounds like a very interesting project with a worthwhile result.

    Like

  2. beeseeker says:

    What a fantastic and truly worthwhile concept, my congratulations to all involved.

    Like

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

Join 10,229 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

This is Room 56, the Raymond and Beverly Sackler Gallery of Mesopotamia 6000–1500 BC. It's the next in our gallery series for #MuseumOfTheFuture. Between 6000 and 1550 BC, Mesopotamia, the land between the Tigris and Euphrates rivers (now Iraq, north-east Syria and part of south-east Turkey) witnessed crucial advancements in the development of human civilisation during the evolution from small agricultural settlements to large cities.
Objects on display in Room 56 illustrate economic success based on agriculture, the invention of writing, developments in technology and artistry, and other achievements of the Sumerians, Akkadians and Babylonians, who lived in Mesopotamia at this time.
Objects found at the Royal Cemetery at Ur are of particular importance, and you can see the Royal Game of Ur in the foreground of this picture – the oldest board game in the world. Our next #MuseumOfTheFuture gallery space is Room 55, the Raymond and Beverly Sackler Gallery of Mesopotamia 1500–539 BC. The civilisations of Babylonia and Assyria flourished during the first millennium BC. Political developments resulted in the incorporation of the entire Near East into a single empire, while increased international contact and trade influenced the material culture of the region.
Room 55 traces the history of Babylonia under the Kassites and the growth of the Babylonian state and empire until it was taken over by the Persian King Cyrus in 539 BC.
'Boundary Stones' carved with images of kings and symbols of the gods record royal land grants. The development of the Assyrian state and empire, until its fall in 612 BC, is illustrated by objects excavated in its palaces. Mesopotamia’s highly developed literature and learning are demonstrated by clay tablets from the library of King Ashurbanipal (r. 668–631 BC) at Nineveh, written in cuneiform script. It's time for Room 54 in our #MuseumOfTheFuture gallery series – the Raymond and Beverly Sackler Gallery of Anatolia and Urartu 7000–300 BC. Ancient Anatolia and Urartu form an important land link between Europe and Asia and lie where the modern Republic of Turkey, Armenia, Georgia and north-west Iran are located today. Objects in Room 54 show different cultures from prehistoric to Hellenistic times.
Examples of Early Bronze Age craftsmanship on display include a silver bull and cup, and business archives of Middle Bronze Age merchants illustrate trading between central Anatolia and Mesopotamia (modern Iraq). Delicate gold jewellery and figurines date from the Hittite period, and Iron Age objects from Urartu include winged bulls and griffins that were used to decorate furniture. Next in our #MuseumOfTheFuture series of gallery spaces it's Room 53, the Raymond and Beverly Sackler Gallery of Ancient South Arabia. Ancient South Arabia was centred on what is now modern Yemen but included parts of Saudi Arabia and southern Oman. It was famous in the ancient world as an important source of valuable incense and perfume, and was described by Classical writers as Arabia Felix ('Fortunate Arabia') because of its fertility.
Several important kingdoms flourished there at different times between 1000 BC and the rise of Islam in the 6th century AD. The oldest and most important of these was Saba, which is referred to as Sheba in the Bible.
Room 53 features highlights from the Museum’s collection, which is one of the most important outside Yemen. The display includes examples of beautiful carved alabaster sculptures originally placed inside tombs, incense-burners and a massive bronze altar. You can see the East stairs in the background of this picture. We've reached Room 52 on our #MuseumOfTheFuture series of gallery spaces – the Rahim Irvani Gallery of Ancient Iran. Iran was a major centre of ancient culture. It was rich in valuable natural resources, especially metals, and played an important role in the development of ancient Middle Eastern civilisation and trade. Room 52 highlights these ancient interconnections and the rise of distinctive local cultures, such as in Luristan, during the age of migrations after about 1400 BC.
During the 6th century BC, Cyrus the Great founded a mighty Persian empire which eventually stretched from Egypt to Pakistan. Objects on display from this period include the Cyrus Cylinder (in the centre of the picture) and the Oxus Treasure (in the case to the left of the picture). Monumental plaster casts of sculptures from Persepolis are also displayed in Room 52 and on the East stairs.
The later periods of the Parthian and Sasanian empires mark a revival in Iranian culture and are represented through displays including silver plates and cut glass. The next gallery space in our #MuseumOfTheFuture series is Room 51, Europe and Middle East 10,000–800 BC. Farming began in the Middle East around 12,000 years ago, making possible the social, cultural and economic changes which shaped the modern world. It arrived in Britain around 6,000 years ago bringing a new way of life. This change in lifestyle meant people competed for wealth, power and status, displaying these through jewellery, weapons and feasting.
The objects on display in Room 51 show how the people of prehistoric Europe celebrated life and death and expressed their relationship with the natural world, the spirit world and each other. The object in the centre of this picture is the Mold gold cape, found in Flintshire in 1833 and dating to around 1900–1600 BC.
Follow

Get every new post delivered to your Inbox.

Join 10,229 other followers

%d bloggers like this: