When Samuel Richardson’s Pamela was published in 1740, it unleashed something unprecedented in literary history. This epistolary novel about a virtuous servant girl resisting her predatory master saw new depths of feeling on the printed page, reducing readers across Europe to tears. The revolutionary impact of emotion informs Ferdinand Mount’s ambitious cultural history, Soft. The
Antony Gormley is not amused. The artist who has installed hundreds of life-sized, cast-iron sculptures of his naked body in cities all over the world is affronted with the way a mysterious member of the British public has responded to one of the artworks. The piece in question, which could be known as ‘Narcissism’ but
A few years ago, a group of Native American leaders drove 12 hours from Oklahoma to Denver Museum of Nature and Science, a natural history museum in the Rocky Mountains of Colorado, to collect 26 sets of human remains. When Chip Colwell, the museum’s senior curator of anthropology, explained to them that, though the remains
‘A fool’s errand’. That is how Lonnie Bunch, founding director of the Smithsonian’s National Museum of African American History and Culture, wryly characterises the decade’s work it took him to get the museum built. It opens in Washington DC this weekend. A talented fundraiser, he and his team matched the $270 million from the federal
On the banks of the River Thames in central London, an ancient Egyptian obelisk, known as Cleopatra’s Needle, reaches towards the sky. Carved from a single slab of red granite, it is 69 feet tall, weighs a substantial 224 tonnes, is decorated with hieroglyphs, and was made for the Pharaoh Thotmes III in 1460 BC.
How should we measure the value of a work of art? Let’s take, for example, Michelangelo’s statue of David in the Accademia in Florence. How should we measure the value of a work of art? Let’s take, for example, Michelangelo’s statue of David in the Accademia in Florence. The 17ft marble figure attracts a huge
New York is in the grip of memorial mania, writes Tiffany Jenkins In early 1991, the construction of a federal office building in lower Manhattan was halted after an unexpected discovery. Underneath the ground, covered by a patina of concrete and steel, was the coffin of a colonial-era African. It was not alone. Construction work
Tiffany Jenkins talks to Scotland’s culture minister about the new ‘creative industry’ quango The unexpected hit of this year’s Edinburgh Book Festival was Mike Russell MSP, the SNP minister for culture, external affairs and the constitution. Surprisingly for a leading Scottish Nationalist, there was no mention of Rabbie Burns. Nor was it a populist pitch
The past ten years have been peculiar times for the arts. Under the Labour government pots of money were thrown at culture. But strings came with this funding, requiring art to serve political ends. While there has been cash it has been less for culture and more for schemes promoting social inclusion, community issues and
The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions Metropolitan Museum, until 1 February 2009 Philippe de Montebello retires from the position of Director at the Metropolitan Museum of Art in New York, after 31 years of service, at the end of this year. A forum of curators has organised an exhibition of
Tiffany Jenkins talks to James Cuno about looting, exporting and owning antiquities James Cuno is a busy man. I pin him down between two projects: promoting the new Modern Art Wing at the Art Institute of Chicago, opening next year, where he is president and director, and the launch of his new book Who Owns
‘Museums are the new United Nations.’ So says Jack Loman, the director of the Museum of London. He is one of many professionals, and increasingly policymakers, calling on cultural institutions to act as instruments of foreign policy. Tessa Jowell, Secretary of State for Culture, Media and Sport, is enthusiastic about this mission and is currently