British Museum blog

Grayson Perry Late

Polly Wright and Francis Olvez-Wilshaw,
University of the Arts London students

For one night only, this Friday 11 November, we, the University of the Arts London, are exhibiting alongside Grayson Perry’s exhibition The Tomb of the Unknown Craftsmanas part of the Grayson Perry Late event at the British Museum.

I have been fortunate enough to sit on the committee of students helping to curate the event. From the written proposals to meeting my fellow students and artists, it has been an interesting journey, one of excitement, fun and insight… and we only have a few days to go!

I feel I am speaking on behalf of all involved when I say it is an exceptional experience to not only be exhibiting in the British Museum but also to be connected to the loved and respected Grayson Perry. This was apparent from the proposals we received as they were filled with enthusiastic appraisal for the British Museum as an institution and for Grayson’s work as an influential artist. Our students’ are committed to creating works suitable to communicate this inspiration. Now, in our final stages of preparation, I can already reflect upon what is a wide array of idiosyncratic ideas, across all mediums, which heightens my excitement for the night.

Meeting everyone behind the projects has been great. Whilst hearing these talented artists animatedly explaining their projects I have become more aware of the raw passion behind their work. I think this will be particularly apparent on the night. The night will be an exhibition of a wide array of interesting and colourful ideas created by a mixture of solo and collaborative works.

The performance piece Touching Death – A Wake has been a particularly interesting project to watch develop and to hear the extraordinary story behind its conception. The connections between the artists and the pure shock ability of the live wake of a real person on the night are bound to be a thought-provoking, public way of exploring death on a dramatically real level.

Showcasing 25 works, from fashion to craft, discos to pilgrimages, I can assure you that the night will be both thought-provoking and entertaining. I am personally excited to watch the space transform – we hope it will highlight aspects within the British Museum’s expansive collection as well as support Grayson Perry’s work.

I am going to leave you with a list of words the artists have used to sum up Grayson Perry: Technicolor, eccentric, genius, revolutionary, cocktail, hilarious, crackers… I hope this gets you excited! See you there!

Find out more about the Grayson Perry Late event.

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

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

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Here’s a #regram from @mrapachekat. Doesn’t this lion look majestic? The Museum’s Montague Place entrance is just as grand as the more-visited Main entrance on Great Russell Street. This part of the Museum contains the King Edward VII galleries, and the foundation stone was laid by the King in 1907. This side of the building was designed in the Roman style rather than the Greek Revival of Great Russell Street. It features numerous imperial references, including the coat of arms above the door, and sculptures of lions’ heads and crowns. The architect Sir John James Burnet was knighted for his work designing these galleries, and the building was opened by King George V and Queen Mary in 1914 (Edward VII had died in 1910). #regram #repost #architecture #BritishMuseum #lion Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum
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