1 0 2 v&a research bulletin - the world's … · this is the sixth edition of the v&a...
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02/03 FoREwoRd LizMiLLer
04/05 RESEARCH FoR ExHIBITIoNS HeatHerwickstudio:
designingtHeextraodinary AbrAhAMThoMAs tHeHouseofannieLennox VicToriAbroAkes BaLLgowns:
BritisHgLamoursince1950 orieLcuLLenAndsonneTsTAnfiLL tHeartofHoLLywoodcostume deborAhnAdooLMAnLAndis tudors,stuartsand tHerussiantsars TessAMurdoch ottomanart–aninternationaL
styLe TiMsTAnLey
16/17 PUBLICATIoNS ANd MEdIA curatingHistory-Lite:
modernBritisHtHeatrein100PLays kATedorney HandmadeinBritain:
aBBcandV&aPartnersHiP JoAnnAnorMAn artsandcraftsstainedgLass PeTercorMAck designsforemBroidery MoirAThunder musLin soniAAshMore medieVaLiVories1200–1500 PAuLWiLLiAMson
28/29 CoLLECTIoNS ANd LEARNINg RESEARCH
PoPart brendAkeneghAn wHatstudentssketcHintHe V&agaLLeries MornAhinTon
32/33 UNIVERSITy CoLLABoRATIoNS uniVersityofBrigHton,
contemPorarydesign guyJuLier uniVersityoftHearts,artists
workingintHemuseum LindAsAndino uniVersityofsussex,disPLaying
musicworksHoP fLorAdennis LondoncoLLegeoffasHion,design
forPerformance donATeLLAbArbieri
40/41 ExCHANgES V&a/kunstHistoriscHesmuseum,
Vienna MichAeLAnoLL
42/43 gRAdUATE RESEARCH coLLaBoratiVedoctoraLaward
researcH
44/45 APPENdIx sTAff honorAryfeLLoWs honorAryseniorfeLLoWs benefAcTors
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ThisisthesixtheditionoftheV&Aresearchbulletin,highlightingsomeoftheresearchprojectsundertakenbycurators,conservationscientists,educators,fellowsandvisitingscholarsintheMuseumduring2011.Theresearchdescribedherewillbedisseminatedinexhibitions,books,catalogues,conferencepapers,discussionevents,televisionprogrammesandappsinthecomingmonthsandyears.
otheractivitiesin2011ithasnotbeenpossibletoincludeherehavecontributedtothemaintenanceofavibrantresearchcultureattheV&A.forexample,workinprogressseminarsontopicsasdiverseasMultilingualinscriptionsinMedievaliberiaandcuratingsexuality,aswellasroundtablediscussionsonsubjectssuchasLouisXiV(inrelationtotheforthcomingeurope1600-1800galleries)orinterpretingtheAfricacollectionsattheV&A.
Afulllistingof2011outputsfromacrosstheMuseumcanbefoundontheV&Awebsiteatwww.vam.ac.uk/content/articles/r/research-reports/includingdetailsofthethirdissueoftheV&A’sonlineJournalwhichcanbeaccesseddirectlyathttp://www.vam.ac.uk/content/journals/research-journal/issue-03/.
inseptemberchristopherbrewardtookuphisnewpostasPrincipalofedinburghcollegeofArt.Justasthisbulletinwasgoingtopress,glennAdamsonwasappointedashissuccessorasV&Aheadofresearch.Wewishthembothwellintheirnewroles.inJanuary2012,LizMillerwillbetransferringfromtheresearchdepartmenttojointheteamworkingonnewV&Agalleriescoveringeurope1600–1800openingattheendof2014.
newsofstaffandstudentresearchacrosstheAsian,Modern,andrenaissancepathwaysoftheV&A/rcAhistoryofdesignProgrammecanbefoundinthesisterbulletinofthispublicationandbothareavailabletodownloadatwww.vam.ac.uk/page/r/research/.
Wehopeyouenjoythissnapshotofthe2011scholarlyactivitiescentredontheV&A’scollections.Wethankoursponsors,academicpartners,staffandstudentsfortheparttheyhaveallplayedinresearchattheV&A.
LIz MILLERdePuTyheAdofreseArch
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Lantern of the Central Tower, V&A
Anexhibitioninsummer2012willbethefirstevermajorretrospectiveontheworkofheatherwickstudio.rejectingconventionalclassificationasapractice,heatherwickandhisteamexplorethethresholdsbetweenstandarddesigncategories.celebratingthepurejoyofcreating3-dimensionalformsacrossawidevarietyofscales,theheatherwickstudiohasearnedareputationforcreatingstunningandingeniousworksthatspanabreathtakingrangeofdisciplines,fromarchitecture,furniture,productdesignandfashion,toengineering,sculpture,transportandurbanplanning.Theteam’sworktodateincludesaspinningchair,arollingbridge,anexpandablezipbag,apowerstation,an‘endless’bench,aJapanesetemple,anolympiccauldronandabrandnewbusforLondon.
Theexhibitionwillexamineawiderangeofprojects,fromheatherwick’sexploratorystudentworkthroughtoearlyukcommissionsandrecentarchitecturalprojectsabroadwhichhaveenhancedthestudio’sinternationalprofile.Muchoftheresearchtodatehasbeenbasedattheheatherwickstudioinking’scrosswhereextensiveaccesstothestudioarchivehasbeengranted.Asaresult,theexhibitionwillfeatureawiderangeofworkshopartefacts,frommaquettesandprototypestofull-scalematerialfragmentsandpresentationmodels,thusofferingarareinsightintothestudio’sthoughtprocessesanddesignmethodologies.Theexhibitionwillconveythestudio’spassionateengagementwithmaterialsresearchandcommitmenttoexploringinnovativeprototypingandfabricationmethodsaspartofadistinctiveandcollaborativedesignprocesswhichplacesthe‘workshop’attheheartofthestudio’sactivities.
ABRAHAM THoMASWordAndiMAge/reseArchdePArTMenT
HEATHERwICk STUdIo: dESIgNINg THE ExTRAoRdINARysponsoredbyernst&young
04/05Interior view of the UK Pavilion at the Shanghai World Expo. Heatherwick Studio, 2010. Photograph Iwan Baan
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forthe18monthsleadinguptoseptember2011theV&A’sdepartmentofTheatreandPerformancehavebeencollaboratingwithperformerAnnieLennoxonanexcitingandinteractivedisplayexploringtheartist’simageandcreativeinfluences.
ThedisplaycomplementstheV&A’sbroaderprogrammeandislinkedthematicallytoPostmodernism: Style and Subversion 1970–1990 towhichLennoxhasalsolentakeycostume.
Theobjects,selectedfromLennox’sarchiveincludeaccessoriesandcostumes(mostnotably,threeiconicmasculinesuits),handwrittenlyricsandmusicmanuscripts,personalnotebooksandaselectionofawardsrangingfromthegrAMMystoanoscar.ephemerafromthepoliticalcausesLennoxhaschampionedsuchasthesingcampaignforhiV/Aidsawareness,awiderangeofAVmaterialincludinglargeformatprojectionschoreographedbyLennox,musicvideosandaspeciallymadeV&AfilmofAnnieinconversationwillalsobeondisplay.
Althoughsmall,The House of Annie Lennox providesanimmersivevisitorexperience.Themotifofa‘house’,isatitsheartandthedisplayisconstructedaroundtheconceptofroomsinwhichdifferentfacetsofLennox’sworkaredisplayed.Mostexcitinglyofall,Lennoxvisitsoccasionally.sheusesthedeskinthehousetowork,whereshecanbeviewedbyvisitors.four-wallprojections,ascentmachineand‘peepholes’addtotheimmersiveexperienceforvisitors.
Thedisplayhasalsomadefulluseofdigitalopportunitiesavailablethroughoutthemuseum.boththeV&Awebsiteandchannelhavebeenusedtoprovideadditionalcontent.AQrcodeonanaccompanyinginformationleafletwilllinktomaterialthatisupdatedthroughoutthecourseofthedisplay.The‘house’itselfhasbeenprovidedwithfacilitiestoenablelivewebandvideochatstotakeplacewithinit.
VICToRIA BRoACkES TheATre&PerforMAnce/reseArchdePArTMenT
THE HoUSE oF ANNIE LENNox
06/07Union Jack Suit, Annie Lennox Collection, The House of Annie Lennox exhibition, V&A, 2011
TheV&A’sforthcomingpublicationisacollaborationbetweentheV&Aandfashionphotographerdavidhughes.forthisproject,hughesphotographedovertwodozenballgownsfromthe1950stothe2010s.hughesemployeddynamicmannequinposesandspeciallycommissionedpropsfortheseevocativeimages,whicharethepublication’svisualfocus.AnintroductionbyMagdakeaney,curatorofLondoncollegeoffashion’sfashionspacegallerysetshughes’imagesincontext.essaysbyV&Acuratorsoriolecullenandsonnetstanfillexploretheballgownasaparticularlybritishgarment.
orioleculleninvestigatestheimportanceoftheballgownforLondon’sfashiondesigners.fromthepost-warperiodtotoday,andforacertaingroupinsociety,britain’scomplexsocialseasonofballs,weddingsandcharityeventshasprovideditsdesignerswiththeopportunitytocreateelaborate,tour de forceeveningwear.inmorerecentyears,theballroomhasbeenreplacedbytheredcarpet.Thoughthecontexthaschanged,theballgownstillremainsastapleinmanydesigners’collections.
sonnetstanfillexplorestheballgownandformaldressingfromtheclient’sperspective.basedoninterviewswithclientswhodonatedtheirdressestotheV&Aandonaccountsinperiodicalsoftheday,thisessayprovidesinsightsintotheclient/designerrelationshipandtheballgown’simportanceasanexpressionofpersonaltaste,statusandprotocol.
oRIoLE CULLEN ANd SoNNET STANFILLfurniTure,TeXTiLesAndfAshion
BALLgowNS: BRITISH gLAMoUR SINCE 1950sponsoredbycoutts
08/09 Silk and velvet ball gown, Murray Arbeid, 1986, T.672-1996
The2012V&AexhibitionThe Art of Hollywood Costume Design willfeatureoveronehundredunforgettablecharactersfromonehundredyearsofhollywoodfilmmakingfrom1912to2012,andwillbethelargestexhibitionofitskindevermountedineurope.
Whenafilmcapturesthepublic’simagination,thecostumescanigniteworldwidefashiontrendsandinfluenceglobalculture.byexaminingthecreativematerialsandcorroboratingevidenceincludingfirstpersoninterviews,theexhibitionhopestoshinealightontheprocessofcostumedesignforthecinemaandthevitalroledesignersplayinhelpingthedirectortellthestory.
Thehistoriccontext,creativecollaboration,andthesearchforthecharacterarekey-topicsofthisexhibition.casestudiesinclude,adeconstructionofcostumesincludingprocessdrawings,andinterviewswithdirectorsMartinscorsese,MikenicholsandTimburtonwiththeircostumecollaborators,sandyPowell,AnnrothandcolleenAtwood.exploringdifferentgenrestheexhibitionwillalsofocusonthetransformationalgiftsofMerylstreepandrobertdeniro.
importantloansofcinemacostumehavebeensourcedfromthecinemathequefrancaise,thedeutschekinemathek,thebritishfilminstitute,thefashioninstituteofTechnology,theLosAngelesMuseumofArt,thestudioarchivesofsony,universal,Paramount,Warnerbros,20thcenturyfox,Lucasfilm,andfromaninternationalgroupofprivatecollectors.
TheexhibitioncataloguewillfeaturecontributionsfromAcademyAwardwinningcostumedesigners,distinguishedcostumeandcinemahistorians,costumecollectors,studioandmuseumarchivistsandcurators,bloggersandculturalcommentators.
dEBoRAH NAdooLMAN LANdISuniVersiTyofcALiforniA,LosAngeLes/reseArchdePArTMenT
THE ART oF HoLLywood CoSTUME dESIgN
10/11
Funny girl (1968)Costume Designer Irene SharaffFanny Brice (Barbara Streisand)
Tudors,stuartsandtherussianTsars;Lifeatcourt1509–1685,attheV&Ain2013,formspartofanongoingprogrammeofexhibitionexchangeswiththekremlinArmouriesMuseum.spectacularenglishsilver,inmiraculouslypristinecondition,presentedbysuccessiveenglishambassadorsasgiftstotheTsars,andsoldonbehalfofcharlesibybritishmerchantsoftheMuscovycompanytoTsarMikaylovich,willbeshownalongsideportraitsoftheTsarsandrussiandiplomatsfromtheMoscowstatehistoricalMuseumandofbritishdiplomatsandmerchantsfromenglishcollections.Afterabreakindiplomaticrelationsfollowingtheexecutionofcharlesi,thesuccessfulembassyledbytheearlofcarlisletoMoscowin1664re-establisheddiplomaticandculturalrelationsbetweenenglandandrussiawiththevisittoLondonoftherussianambassadorPotemkinin1681–2.recentdiscoveriesincludetheearliestprintedmapofMuscovy,publishedinLondonin1562.
Anaccompanyingbookinrussianandenglish,jointlyeditedbyolgadmitrievaandTessaMurdoch,willincludeessaysonculturaldiplomacy,armsandarmour,heraldry,textiles,jewellery,miniatures,andthekremlinTudorandstuartsilver.AtwodayconferenceattheV&A,inJune2013,inassociationwiththeLondon-basedsocietyforcourtstudiesandhistoricroyalPalaces,willcelebratethehistoryofrussianandbritishculturalrelationsthroughevidenceoflifeatcourtandtradebetweenthetwonations.
TESSA MURdoCHscuLPTure,MeTALWork,cerAMicsAndgLAss
TUdoRS, STUARTS ANd THE RUSSIAN TSARS
12/13Miniature of Charles I as Prince of Wales by Balthazar Gerbier, 1616, purchased with funds from the Captain Murray Bequest, P.47-1935
14/15
AmajorexplorationofottomanartisscheduledattheV&Ain2014.Thiswillbeourfirstopportunityin160yearstoshowthefullrangeofourholdingsandtofilloutthehistoryofottomanartthroughaloanexhibition.
inTurkey,ottomanartisusuallyunderstoodasanimportantphaseinthehistoryofTurkicartwhileinWesternmuseums,itisusuallyunderstoodasanimportantphaseofislamicart.ThelatterishowitdisplayedintheJameelgalleryofislamicArtattheV&A.elsewhereintheMuseum–inthenewceramicsgalleries,forexample–wecanviewottomandecorativeartasadistinctive,self-sufficientproductionthatisthepeerofothergreattraditions,withwhichitinteracted.
Ataleofinteractionisprovidedbytheceramicsfromthesmalltownofiznik.inthe15thand16thcenturies,ottomanpottersborrowedtechnologicalanddesignideasfromtraditionsasdiverseaschineseblue-and-whiteporcelainanditalianmaiolica,creatingvesselsandtilesthatwereindemandinternationally.
insomeareas,though,suchastheottomantraditionofcalligraphyintheArabicscript,theexternalrelationshipwaslimitedtootherMuslimcultures,andottomanmastersexpressedadistinctiveidentitythathadastrongideologicalcharge.ThissamechargelimitedWesternculturalpenetrationoftheempire,sothatoilpaintingandfigurativesculpture,eventhatinlowrelief,foundnoconsistentpatronagebefore1800.
TIM STANLEyAsiA/reseArchdePArTMenT
oTToMAN ART – AN INTERNATIoNAL STyLE
Tile-top table, a single polygonal tile in a contemporary walnut frame with marquetry of ebony and ivory and mother-of-pearl covers for nails, Turkey, probably Istanbul, c.1560, c.19-1987
16/17
in2010theTheatre&Performancedepartmentacquiredthearchiveofprolifictheatrephotographerdouglash.Jeffery,oneofthefirstphotographerstoattendrehearsalsaswellasphotocalls.Jeffery,whobeganhiscareerinthe1950sandcontinuedtoworkupuntilhisdeathin2009,capturedmanyofthemosticonicproductionsinpost-wartheatre.Therichnessofthiscollection,combinedwithotherphotographicarchivesheldbythedepartmentgivesusanunparalleledvisualrecordofperformancefromthe1930stothepresent.
Productionstillsenshrineperformancesinthepublicmemoryofferingadistillationoftheeventandtheperformerswhocreatedit.TheJefferycollectioninspiredustocreateaninteractivehistoryoftheatrefrom1945–2010designedfortablets(e.g.theiPad)whichwouldallowustobringtogetherphotographs,designsandtextinafreshandinteractiveway.TitledModern British Theatre in a 100 Plays itfocusesonplaysthatshapedpost-wartheatrehistoryinsomeway(byprovokingpublicoutcry,breakingnewground,markingthebeginningofaperformer’s,writer’sordirector’scareer).foreachplaythereisasummaryofthemainthemesandcriticalreception,detailsofthefirstcastandthenarangeofphotographsfromthefirstproductionillustratingthemainthemesoftheplay.bypublishingonatabletweareabletocombineawealthofmaterialandlettheuserdecidehowtoviewit:bydecade,theme,playoreven,withoutthetextatall.Astheproject’scurator,theprospectofusersaccessingthepictureswithoutreadingmycarefullywordedexplanationsisanovelonebutwemustmovewiththetimes,andinthecaseofthisproject,thatmovementisliteral,asimagesslideupanddownatthetouchofafinger.
kATE doRNEyTheATreAndPerforMAnce/reseArchdePArTMenT
CURATINg HISToRy-LITE: ModERN BRITISH THEATRE IN A 100 PLAyS
Enron by Lucy Prebble, photographed by Graham Brandon, 2010
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fromautumn2011toautumn2012,theV&AisworkingwiththebbctopresentHandmade in Britain,ayear-longseasonofprogrammingonbbc4exploringthehistoryofbritishartistryandcraftsmanshipacrossthedecorativearts.itisthemostwide-rangingandambitiousexplorationofthedecorativeartstobeundertakenonbritishtelevision.
inthreeseries,Handmade in Britainfocusesonkeydisciplinesinthedecorativearts,startinginautumn2011withathree-partseriesonceramicsandasingleprogrammeonstainedglass,beforemovingontometalworkforspring2012andwoodforautumn2012.Lookingateachmediuminturn,theprogrammesexamineandunpicksomeofthestoriesbehindhand-craftedobjectsmadetofulfilapracticalfunction,butalsotoserveanaestheticpurposeasdecorativeworksofart.ThroughtheexaminationofobjectsfromtheV&A’scollections,interviewswithV&Acuratorsandcontributionsfromcontemporarypractitioners,theprogrammesalsolookatparticularskillsandtechniques,bothhistoricalandcontemporary,andtheirusetocreateparticularartisticeffects.
Throughouttheseason,Handmade in Britainalsoexploresthehistorical,socialandculturalcontextbehindthemakingandconsumptionofsuchobjects.itlooksattheriseofbritainasaproducerofluxurygoods,andexploreshowthehistoryofdesigninbritainisastoryofmulticulturalismandglobalisation.
TocomplementtheHandmade in Britainseason,theV&Aishostingaseriesofeventsaswellascreatingonlinecontentandanin-gallerymobilewebexperience.TheculminationoftheseasonwillalsobemarkedbyaHandmade in BritainpublicationproducedbyV&APublishing.
JoANNA NoRMANreseArchdePArTMenT
HANdMAdE IN BRITAIN: A BBC ANd V&A PARTNERSHIP
Big White Jug, Alison Britton, earthenware, hand-built, 1987, C.233-1987 18/19
20/21
designingandmakingstainedglassforreligiousandsecularbuildingswasasignificantaspectoftheArts&craftsMovement.Thisbook–thefirststudyofthesubject–demonstratesthatinnovationsinaestheticsandpracticeduringthe1880s–1940sfundamentallytransformedthewaystainedglasswasthoughtabout,aswellashowitlooked,inbritain,irelandandtheusA.
AmajorthemeofthebookishowArts&craftsdesigner-makersperceivedtheirrelationshipwithhistoricaltradition.rejectingthegothicrevival’simitativeandcommercialisedhistoricism,theylookedtothemedievalcraftasadynamicsourceofinspirationforamodern,expressiveartform.Theirwindowswereusuallymadeinworkshopsstaffedbysmall,collaborativeteamsofworkers,orsometimesasingleartistoperatingonher/hisown.PersonalinvolvementinbothmakinganddesigningwastheArts&craftsideal,embodiedespeciallyinthecareersofchristopherWhall(1849–1924)andMaryLowndes(1856–1929),twoofthemostinfluentialpioneersinregeneratingearly20th-centurystainedglass.Whall’sself-confessed‘disciple’,charlesJ.connick(1875–1945),brilliantlyadaptedArts&craftspreceptstotheAmericancontextinhisbostonstudio.
TheV&A’scollectionsareparticularlyrichinvisualandarchivalmaterial,includingdesignsbychristopherWhallandhispupils,examplesofWhall’sstainedglassandhissurvivingpapers.ThearchivesofLowndes&drury,thestudioco-foundedbyMaryLowndesin1897,andoftheglassmanufacturersandwindowmakersJamesPowell&sons,alsoheldbytheMuseum,provideaninvaluablesourceforthenarrative,documentingtheevolvingArts&craftsapproachtomaterialsandproductionmethodsaswellasdetailsofspecificcommissions.
PETER CoRMACkreseArchdePArTMenT
ARTS & CRAFTS STAINEd gLASS
St Chad and St Agatha by Christopher Whall (1849-1924), versions of windows made for a glazing scheme in the Lady Chapel of Gloucester Cathedral, 1901, C.87 & 88-1978,bequeathed by Mr C. J. Whall
22/23
ThisisthefirstbooktointroducetheV&A’scollectionsofprofessionaldrawnandprinteddesignsforembroiderycoveringthefieldsoffashion,accessories,andfurnishingsfromthesixteenthcenturytothepresentday.Arrangedintofivesections,thebookincludesanintroduction;designingforembroidery;fashion;accessories;andfurnishing.Thesectionsarearrangedthematicallyandthenchronologicallywithineachsectiondealingwiththedesignandrelatedtextileorgarment.Thesectiononaccessoriesdealswithcategories,suchashatstoshowcontinuityordifferenceindesignthroughthecenturies.
Thefocusofthisresearch,aidedbytranslationsfromarchaiclanguageshasenableddiscoveriestobemaderelatingtosixteenth-,seventeenth-andeighteenth-centuryembroiderydesignsintheV&Acollections.Thesediscoveriesincludereattributions;evidenceforreviseddating;anunderstandingofthemulti-purposenatureofpatternbooksforavarietyoftechniquesandcrafts;andtheappropriationofdesignsforaspecificcraftinonepatternbookbeingusedforembroiderypatternsbyanotherdesigner.suchappropriationprovidesalinkbetweenseventeenth-centuryfrenchandenglishdesign.genealogicalresearchhasrevealedbiographiesandvarietiesofartisticpractice.identificationofdesignsforpartsofgarmentshasinvolvedclosestudyofdress.Arare,nineteenth-centuryenglishdesignforabodiceinthestyleofartisticdresshasbeenidentified.Thecareerpracticeofembroiderersthroughthecenturiesisilluminatedbytheirsidelineinprinteddesigns,orbytheirdrawingsandcollectionsthattheymadeofdesigns.
MoRIA THUNdERWordAndiMAgedePArTMenT
EMBRoIdERy dESIgNS FoR FASHIoN ANd FURNISHINg FRoM THE VICToRIA ANd ALBERT MUSEUM
Cartoon for needle work picture, ‘Love with bow surrounded by children and standing beneath a cloud of doves’ by Edward Burne-Jones, c.1880, E.838-1937, given by the Hon. Mrs Margaret Post
TheV&AhasaccumulatedafineifsomewhatunrecognisedcollectionofaroundathousandmuslinobjectsinitssouthAsianandeuropeantextileandfashioncollections.ihavebeeninvestigatingtheirwidercontextforaV&Abook.
researchhastakenmefromV&Astoreroomstovillagesinbengalwhereweaversarerevivingjamdani orfiguredmuslinweaving.inindia,muslinwasaprizedfabricwornattheMughalcourt,referredtobysuchromanticepithetsas‘wovenair’and‘eveningdew’.itwaswidelyexportedtotheancientandmedievalworld.intheseventeenthcentury,muslindrewthebritisheastindiacompanyintotheinteriorofbengalandbecameakeyvehicleforthecompany’seconomiccontrol,recordedinthesometimesindecipherableindiaofficerecords.
Acenturylater,manufacturersinManchesterandglasgow,astonishedatthedelicacyofthehand-loomedindianfabric,eventuallyachievedmachine-madeversionswhichundercutindianproducers,whilenotachievingthefinequalityoftheirlaboriouswork.
supportedbythePasoldfoundation,ihaveinvestigatedmanufacturers’archivesinglasgow,PaisleyandManchester.internettrawlinghasledmetothesourceofmuslinmanufactureineighteenthcenturyfranceandswitzerland,where,asinscotlandandireland,anextensiveruralembroideryindustrydeveloped.
intermsofwesterndress,thesymbolismofmuslinwaswellunderstoodbyeighteenthcenturyaristocratsplayingatsimplicity,inneo-classicaldressstyles.AnunexpectedfindattheMuseumhasbeenthe1809wardrobeaccountsofempressJosephineinthenationalArtLibrary.Muslinwaswornintothetwentiethcentury,andchildren’sclothinginparticulariswell-representedintheMuseum’scollections.
SoNIA ASHMoREreseArchdePArTMenT
MUSLIN
24/25Man’s Robe (Jama), white cotton robe with a skirt made up of 277 triangular panels, Bharatpur, c.1855, 05567 (IS)
26/27
followingthepublicationin2010ofthefirstvolumeofatwo-partcatalogueoftheV&A’scollectionofmedievalivorycarvings,coveringtheyears400-1200,workisnowinprogressoncataloguingthegothicivories.Thereareabout300piecesinthispartofthecollection,oneofthemajorholdingsofthematerialinanymuseumandonlymatchedbythecollectionsinParisandnewyork.Theobjectswerelastpublishedincatalogueformin1929andsincethatdatenotonlyhavemanynewacquisitionsjoinedthecollectionbutthestudyofgothicivorieshasbeentransformed,withmanyimportantarticles,cataloguesandexhibitionsonthesubjectinthelastfewdecades.
TheworkisbeingcarriedoutbyPaulWilliamsonandglyndavies,thelattertheholderofanexternally-fundedthree-yearresearchcuratorshipgenerouslysupportedbyThomsonWorksofArtandpublicationisplannedfor2014.Thecatalogue,takinginivorycarvingsfrom1200-1550,willbedividedintotwolargeparts-religiousandsecularcarvings-andthenbydifferentcategoriesofobjects,includingstatuettes,diptychs,triptychs,crosiers,caskets,mirror-backs,combsandothertypesofcarvings;withinthesesectionsthematerialwillbearrangedchronologicallyandcross-referencedsothatthesculpturesofparticularworkshopscanberelatedtooneanotherregardlessoftheobjecttype.itistheintentionthattheuserofthecataloguewillthereforebeabletonavigatethematerialmostprofitablyandefficiently,andeverysectionwillbeprefacedwithanintroductoryessay,providinganoverviewofthesubjectandabibliography.
TheMuseumisparticularlyrichinfrenchanditaliangothicivories,withthemostcomprehensivecollectionofcarvingsoftheembriachiworkshopinexistence,andnewevidenceforlinkingpieceswithgermany,thenetherlandsandenglandwillbebroughtforward.TheLategothicperiod,from1400-1550isalsoanareaofstrengthandrecentdiscoverieswilladdmuchinformationtostudyofthesubject.Theexistenceoflargenumbersofforgeriesandcopieshasbedevilledscholarsofgothicivories,soin-depthdiscussionwillbeprovidedforivoriesofdubiousauthenticity,andagoodnumberofthecarvingswillbedatedbyradiocarbonanalysisexecutedbytheuniversityofoxford.
PAUL wILLIAMSoNscuLPTure,MeTALWork,cerAMics&gLAss
MEdIEVAL IVoRy CARVINgS: goTHIC
Virgin and Child, French (Paris), circa 1250-60. 209-1867
28/29Pastilli Chair, circular yellow molded fiberglass form, designed by Eero Aarnio, manufactured by Asko, Finland, 1968, Circ.13-1969
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ThePopart(PreservationofPlasticArtefactsinmuseumcollections)projectisaneu-fundedcollaborativeprojectundertheenvironmentProgramme.formoreinformationpleaseseehttp://popart.mnhn.fr.Thereare13partnersand8countriesinvolved.TheV&Aisoneof3collectionsinvolved–theothertwobeingThenationalMuseumofdenmarkandthenetherlandsculturalheritageAgency(rce).Theprojecthasatotalbudgetofmorethan€2million.Themainaimsoftheprojectare:toimproveconservationandmaintenanceofplasticobjectsinmuseumcollectionsandtoevaluateandestablishrecommendedpracticesandrisksassociatedforexhibiting,cleaningandrestoringtheseartefacts.Plastics,whichwerefirstusedtoimitateexpensivenaturalmaterials,arenowmaterialsintheirownright.Asplasticsarethematerialsofchoiceinmanycontemporaryobjectsaswellasinmanyoftheearliericonicdesignobjects,theirpresenceisinescapableincollections.however,comparedtothemoretraditionalmaterialssuchaswood,metal,glassetc.,someofthemcanbeunstable.Theycanalsobeproblematicintermsofconservationtreatmentssuchascleaning,adhesionorconsolidation.inaddition,theycanpresentproblemsintermsofdisplayconditions.Thisisthefirstprojecttoaddresstheseissueswithacoherentstrategy.
BRENdA kENEgHANconserVATiondePArTMenT
wHAT STUdENTS SkETCH IN V&A gALLERIES
ThisresearchaddressesthequestionofwhichobjectsArtanddesignstudentssketchwhentheyvisittheV&Aandwhatusetheymakeofthosedrawingsaftertheirvisit.Thefocusispost-schoolfoundationlevelstudents–chosenbecausedrawingandvisualresearchskillsareactivelytaughtatthisstage,includingbygroupvisitstomuseumsandgalleries.
Thereisconcernintheeducationsectoraboutstudents’relativelypoordrawingskillsonentrytohighereducation,duetotheprevalenceofdigitalmedia,andtheteachingofdrawingisbecomingamatterofsomeconcerntotutors.ThisresearchprojectexaminesthenatureofthegallerysketchingexperienceincludingotherstudentactivitieswhiletheyareattheMuseum(forexample,makingnotesortakingphotographs)andtutors’expectations.
Twogroupsofstudentshavebeenincludedinthestudy:onefromcentralstMartin’sandonefromkensingtonandchelseacollege.TheresearchhasusedqualitativemethodsofonetooneinterviewsconductedbothattheMuseumandafterwardsbackinthecollege,combinedwithobservationandanalysisofthestudents’drawings.Thishasbeensupplementedbyaliteraturereview,whichincludestheV&A’shistoryasaneducationalinstitutioninitsoriginalincarnationastheteachingcollectionofthegovernmentschoolsofdesign.Afinalreportisdueinearly2012andthefindingswillinformtheLearningprogrammeaswellasgallerydesignandinterpretationwherestudentsareakeyaudience.
MoRNA HINToN LeArningdePArTMenT
30/31The Glass Gallery; looking eastwards with students, drawing from one of the displays
32/33SZDSZ [Szabad Demokrátak Szövetsége] poster by László Haris and Péter Pócs, colour offset lithograph, Hungary, 1989, E.144-1991, given by Mücsarnok, Budapest, through Kristina Terger
dESIgN ACTIVISM ANd SoCIAL CHANgE
Theincreasingpullofconcernssuchasclimatechange,peakoil,migrationandurbanisationandthepushofglobaleconomicrecessionhasmeantthatmanydesignersaroundtheworldaredevelopingmoresocially-,environmentally-andpolitically-engagedworkingmethods.nowadays,‘designactivism’isfrequentlyusedtodenotetheseinterests.
Whilstthisterm‘designactivism’isrelativelynew,ithasalonghistoricalpedigree.onemightviewtheaspirationsofthenineteenthcenturydesignreformistswhowerecloselyconnectedwiththeV&Aas‘activist’.forthem,designwastobeafilteringsystem:theybelievedthatconsidereddesigncouldcurbwhattheyperceivedweretheexcessesoftheindustrialrevolutionthatwasresultinginamorallyimpoverishedworld.fastforwardtothe1970s,andoneseesthatseveralitalianradicalgroups–alsorepresentedintheV&A’s2011Postmodernismexhibition–theorisedthatdesigncouldbeusedtoreworkconsumerculture.indeed,theirideasprefiguredmanyofthepeer-to-peerdigitalnetworksystemsthatwehavetoday.
bygoingbackwards,perhapswecanfindwaysbywhichthemuseum’scommunitycangoforwards.Thusthe2011conferenceofthedesignhistorysociety–whichiconvened–wasonthethemeof‘designActivismandsocialchange’.stagedinbarcelona,itincludedpapersonsuchdiversetopicsastheimpactofradicaldesigninnorway,anarchistprintinlate19thcenturyfrance,thegraphiclanguageofpunkinsãoPaulo,andsocialinnovationinindia.Assuch,itprovidedanopportunitytobringnewscholarshipfromdesignhistoryandcontemporarypracticetogether.
gUy JULIERuniVersiTyofbrighTon/reseArchdePArTMenT
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ARTIST woRk IN THE MUSEUM
Aseminarentitled‘ArtistsWorkintheMuseum’washeldatchelseacollegeofArtinMarch2011,tolaunchresearchintotheimpactofartschool-educatedstaffonthecultureandidentityofmuseumsandgalleriesinthepost-warperiod.TheseminarrepresentedacollaborationbetweentheV&A’sresearchandLearningdepartmentsandthecamberwell/chelsea/Wimbledon[ccW]graduateschooloftheuniversityoftheArts.itwasorganisedbydrLindasandinoandMatildaPye.
AcademicsfromtheccWgraduateschoolwerejoinedbyformerandcurrentcuratorsfromtheV&A,thenaturalhistoryMuseum,thenationalgallery,theWallacecollection,Tate,andtheWhitechapelArtgallery.ThekeynotewasdeliveredbyProfessorPaulgreenhalghwhoreflectedonhowhisstudiesasapainteratreadinguniversityhadinfluencedhisroleasacurator.currentlydirectorofthesainsburyinstituteandrefsub-panelchairforArt&design:history,Practice&Theory,hiscareerrepresentedtheprincipalthemesinformingtheseminar.
-Whatfactors(personal,cultural,historical)makemuseumsasustainablelocationfortheemploymentofartists?
-Whataretheskillsthatartistsbringtothemuseumenvironment?
-Whatimpactdotheirnetworkshaveonmuseumsassitesandenginesofculturalcapitalandexchange?
researchintothisareawillextendthecurrentccW/V&AoralhistoryprojectdesignedtobuildanunderstandingoftheV&Athroughthelifehistoriesofitscurators.
LINdA SANdINo ccWgrAduATeschooL,uniVersiTyofTheArTs/reseArchdePArTMenT
V&A Interior, Leighton Frescoes Gallery, Rooms 107-109 34/35
‘dISPLAyINg MUSIC’
increasingly,museumsandgalleriesrecognizethevalueofincludingamusicaldimensionintheirvisualdisplays.Whetherrecordingsorliveconcertperformancesofmusicthatrelatetoworksonshow,orcommissionsofnewpiecesrespondingtoobjectsorgalleryspaces,theadditionofmusiccanenhanceandtransformvisitors’museumexperiences,furtheringhistoricalunderstandingandencouragingimaginativeandemotionalresponsestoexhibits.Thequestionofhowtointegratemusicintobothpermanentgallerydisplaysandtemporaryexhibitionshas,however,receivedlittlecriticalattention.fromtheselectionofmusicalcontenttoitsmodeofdelivery(particularlyinaneraofrapidly-changingtechnologies),thisareademandsfurtherthoughtandinvestigation.
Aone-dayworkshopheldintheresearchdepartmentinJuly2011providedthecatalystforaninitialseriesofdiscussions.fundedbytheAhrc,aspartofanearlycareerfellowshipawardedtofloradennis,theworkshopbroughttogetherparticipantsfromavarietyofbackgrounds(museumcuratorsandeducators,academics,soundengineers,performers,composersandsoundartists)andinstitutions(includingtheV&A,britishMuseum,nationalgallery,courtauld,horniman,royalcollegeofMusic,newberryLibrary,chicago,birkbeckandtheuniversityofsussex).Participantsreflectedontheirdiverseexperiencesofhavingworkedwithmusicinmuseumcontexts,presentingexamplesofspecificprojectsandconsideringthebenefitstheybrought,alongsidethepracticalandintellectualchallengesposed.Therichvarietyofconversations,freshideasandvaluablenewperceptionsthatthedayinspiredwillbedevelopedfurtherinaplannedseriesofseminarsonthesubject.
FLoRA dENNISuniVersiTyofsusseX/reseArchdePArTMenT
Violin (back view), bearing The Coat of Arms of James II, the front attributable to Barak Norman, c.1710, the back, neck & head attributable to Ralph Agutter, c.1685, 34-1869 36/37
dESIgN FoR PERFoRMANCE
‘oldintonew’isashortdanceperformancedevisedinitiallyinresponsetoanimageoffataldamageinflictedonachild’sslipperbynestingmoths’larvae.Theimage,showingthealmosttotaldisintegrationofachild’sslipper,withtheotherslipperofthepairleftintact,wasshowninPreventiveconservatorValblyth’slecture,partoftheinductionfornewstafftotheV&A.herlecturerevealedtheMuseumanewtome.behindthescenestheprotectionoftheobjectsinitscareimpliedconstantactiontoensuretheirsurvivalagainstacontinuousthreatofdecay.
Acostumebasedperformance‘oldintonew’wasinspiredbythisstruggle,asabeautifulgarmentrevealsitselfaseaten,intheunfoldingofpleatsandintheliningofitscape.Theperformanceexploresthegarmentastransformedandasrevealed,throughmovementandinteractionbetweenperformerandcostume.‘Transformationandrevelation’,theexhibitionsupportedbytheV&ATheatreandPerformancedepartment,representedtheukatthePragueQuadrennialofPerformancedesignandspaceinJune2011,invited‘oldintonew’tobeperformedinitsspace.boththeexhibitionandtheperformancewillbeshownintheV&Ain2012.
ThisinspirationfortheconstructionofthecostumewasdrawnfromdiversehistoricalgarmentscollectedbytheMuseum,rangingfrombalenciagacapestothepleatsandfoldsintheskirtsof18thcenturymantuas.Theeffectthatwasprojectedtotheaudiencewitnessingtheperformancewasthatofexteriorandfaçade,concealingitsoppositewithinitself.
doNATELLA BARBIERILondoncoLLegeoffAshion/reseArchdePArTMenT
Evening ensemble which comprises a sleeveless dress and matching cape by Cristóbal Balenciaga, Paris, 1967, T.39A-197438/39
V&A / kUNSTHISToRISCHES MUSEUM, VIENNA
inthespringof2011theV&AandthekunsthistorischesMuseum,Viennalaunchedanexchangeprogramme,andiamproudtohavebeenchosenasthefirstmemberofstafffromViennatoparticipate.ThesixweeksispentattheV&Awereatrulyenrichingexperience,bothformyprofessionalcareerandpersonally.
Myworkasagraphicdesignerinamuseumplacesmeattheintersectionwhereartworksandaudience,scholarsandvisitorsmeetandinteract.ThisiswhyiwasinterestedinworkingattheV&A,amuseumthatcombinesoutstandingcollectionsandexcitingexhibitionswithanexcellentdidacticpresentation.
duringthefirstpartofmystayiassistedthedesignTeam.Workingonseveralprojectsconcurrentlyandbeingpartoftheday-to-dayroutineofferedmanifoldinsightsbothintothedifferentcreativeprocessesatworkthereandthemuseum’sorganisationalstructure.iwasdeeplyimpressedbythehighstandardofdesignandtheemphasisonqualityandsustainabilityiencountered.
forseveralweeksiwasthenhostedbyV&AenterprisesandbecameacquaintedwiththeworkingsoftheMuseumshopdesignTeamandV&APublishing.interviewsandextensivediscussionsprovidedin-depthknowledgeabouttheV&A’spublicationlistanditsproductplacementstrategy.
itwasatrulyfascinatingexperiencetotracethemuseum’sapproachtoinspirationandmotivationthroughitshistoryfromitsfoundationtothepresentday.Todaythismissionisnotonlymanifestedthroughitspermanentcollectionsbutalsobyitswide-rangingprogrammeofeventsandlectures.itwasafascinatingexperiencetohavebeenpartofthisculturalinstitutionforalimitedperiodoftime,andiverymuchhopethatthisexchangeprogrammewillcontinueandresultinafruitfulexchangeofknowledgeandinspirationbetweenourtwomuseums.
MICHAELA NoLLkunsThisTorischesMuseuM,ViennA
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40/41Schaurig Schön – Ungeheuerliches in der Kunst, graphic design by Michaela Noll, Kunsthistorisches Museum, Vienna, 2011
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CoLLABoRATIVE doCToRAL RESEARCH
STEVE BRowNroyALcoLLegeofArT/VicToriAAndALberTMuseuMdialoguesbetweendecorationandform:newPotentialforceramicsofferedbyimagebasedTechnologies
LESLEy dELANEyuniVersiTycoLLegeLondon/VicToriAAndALberTMuseuMTheMakingofthebookinthe19thcentury:children’sPublishinganditsText,Technologyandillustration
ALISTAIR gRANTuniVersiTyofsusseX/VicToriAAndALberTMuseuMelectroplateandelectrotype,1840tothepresent
MARy gUyATTQueenMAry,uniVersiTyofLondon/VicToriAAndALberTMuseuMThechildintheWorld:empire,diasporaandglobalcitizenship
HUI – yINg kERRroyALcoLLegeofArT/VicToriAAndALberTMuseuMJapanesedesigninthebubbleeconomy
STEPHEN kNoTTroyALcoLLegeofArT/VicToriAAndALberTMuseuMspotthedifference:concealingthe‘ever–same’inmodernadornmentusinghistoricallyconstructedillusions
JULIA LoHMANNroyALcoLLegeofArT/VicToriAAndALberTMuseuMemergingdesignPracticeandcurating:ParadigmsandParameters
ELEANoR PAREMAINbirkbeckcoLLege/VicToriAAndALberTMuseuMThehistoryoftheTricycleTheatre:Audience,identityandAgency
EdITH MARIE PASqUIERroyALcoLLegeofArT/VicToriAAndALberTMuseuMdiscourseofPhotographyintheV&Acollections
CATHERINE RoSSIroyALcoLLegeofArT/VicToriAAndALberTMuseuMTheTransitionofModernity:ThePractice,disseminationandconsumptionofModerncraftinitaly
gILLIAN RUSSELLroyALcoLLegeofArT/VicToriAAndALberTMuseuMemergingdesignPracticeandcurating:ParadigmsandParameters
CATHERINE SPEIgHTuniVersiTyofbrighTon/VicToriAAndALberTMuseuMLearningattheinterface:opportunitiesandbarrierstouniversityandMuseumcollaborationsforinnovativeandcreativeLearning
NICoLA STyLIANoUcheLseAcoLLegeofArTAnddesign/VicToriAAndALberTMuseuMcollectingArtefactsfromtheAfricandiaspora:V&A,itspredecessorinstitutionsandtheimpactofthebritishempirefromitsinceptiontothe21stcentury
EMILIA TERRACCIANocourTAuLdinsTiTuTeofArT/VicToriAAndALberTMuseuMbeyondthegaze:collectinganddisplayingModernandcontemporarysouthAsianArtintheuk
ELAINE TIERNEyuniVersiTyofsusseX/VicToriAAndALberTMuseuMstrategiesforcelebration:designingfestivalsinLondonandParis1660–1715
JoANNA wEddELLuniVersiTyofbrighTon/VicToriAAndALberTMuseuMdisseminatingdesign:TheV&A’sdesigncollectionsandnationalcirculation,1945tothepresent
A female doll from Germany, c.1900, given by Miss Florence Burton, MISC.2-1962
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INTERNAL SECoNdMENTSCooMBS, kATHERINEbriTishWATercoLoursfroMTheV&A1750–1950doRNEy, kATEbriTishPerforMAnce1948–2012ELLIoT, LAURAdesignsAndAudiencesATTheV&AinThe20ThcenTuryNIgHTINgALE, EITHNE MuseuMs,eQuALiTyAndsociALJusTiceowENS, SUSANbriTishdrAWingsSANI, ELISATreAsuresofrenAissAnceMAioLicATHUNdER, MoIRAeMbroiderydesignforfAshionAndfurnishingfroMTheV&AwATSoN, RowANiLLuMinATedMAnuscriPTscATALoguewEISS, MARTALighTsfroMTheMiddLeeAsT:conTeMPorAryPhoTogrAPhy
dIgITAL PRoJECTS
NoRMAN, JoANNAbbc4hAndMAdeinbriTAinco-ordinATorSULLIVAN, gREgdicTionAryofbriTishscuLPTorsonLine(suPPorTedbyThePAuLMeLLoncenTre)
FUNdEd FELLowSHIPSCoRMACk, PETERAMericAnfriendsofTheV&AfeLLoWinArTsAndcrAfTssTAinedgLAssSTRoNgE, SUSANLeVerhuLMefeLLoW,JAhAngir’sTrAVeLsAndMoghuLcourTArTs
ExCHANgESHowARd, MAURICE(susseX)V&A/susseXuniVersiTyeXchAngefeLLoWdoddS, doUg ANd SHANNoN, LoUISE(V&A)V&A/susseXuniVersiTyeXchAngefeLLoWswILCox, SCoTT(yALecenTerforbriTishArT)V&A/ycbAeXchAngefeLLoWMCSHANE, ANgELA(V&A)V&A/ycbAeXchAngefeLLoWREEdER, JAN(MeT)V&A/MeTroPoLiTAnMuseuMeXchAngefeLLoWkENNEdy, kIRSTIN(V&A)V&A/MeTroPoLiTAnMuseuMeXchAngefeLLoWNICkSoN, ToM(york)V&A/uniVersiTyofyorkeXchAngefeLLoWNoLL, MICHAELA(kunsThisTorischesMuseuM)V&A/kunsThisTorischesMuseuMViennA,eXchAngefeLLoWEVANS, MARk(V&A)V&A/kunsThisTorischesMuseuMViennA,eXchAngefeLLoW
CoRE STAFFAdAMSoN, gLENNheAdofreseArchfroMnoVeMber2011BREwARd, CHRISToPHERheAdofreseArchTosePTeMber2011MILLER, LIzdePuTyheAdofreseArchTodeceMber2011woodFIELd, HELENreseArchAdMinisTrATor
V&A/RCA CoURSEAJMAR, woLLHEIM, MARTAAcTingheAdofPosTgrAduATesTudiesMCSHANE, ANgELAcourseTuTorgUTH, CHRISTINEcourseTuTorCHECkETTS, RICHARdcourseTuTorToJune2011RoyALL, kATRINA ANd LoNg, LoRAINEcourseAdMinisTrATors
JoINT FELLowSHIPSBARBIERI, doNATELLALondoncoLLegeoffAshion/V&AfeLLoWindesignforPerforMAnceJULIER. gUyuniVersiTyofbrighTon/V&AfeLLoWinconTeMPorArydesignPARTINgToN, MATTHEwuniVersiTyofWesTengLAnd/V&AfeLLoWin20cAndconTeMPorArycrAfTSANdINo, LINdAuniVersiTyofTheArTs,London/V&AorALhisToryfeLLoWTULLoCH, CARoLuniVersiTyofTheArTs,London/V&AfeLLoWinbLAckVisuALcuLTure
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ExHIBITIoN TEAMS
THE CULT oF BEAUTy: THE AESTHETIC MoVEMENT IN BRITAIN 1860–1900sTePhencALLoWAy,esMÉWhiTTAkerPoSTModERNISM: STyLE ANd SUBVERSIoNgLennAdAMson,JAnePAViTT,oLiVerWinchesTerBRITISH dESIgN, 1948–2012chrisToPherbreWArd,ghisLAineWood,LiLycroWTherTHE ART oF HoLLywood CoSTUMEdeborAhnAdooLMAnLAndis,keiThLodWickINdIA dESIgN NowdiViAPATeL,orLAhousTon-JibodAVId BowIEVicToriAbroAkes,kAThrynJohnsonoTToMAN ART – AN INTERNATIoNAL STyLETiMsTAnLeyHEATHERwICk STUdIo: dESIgNINg THE ExTRAoRdINARyAbrAhAMThoMAs
VISITINg FELLowSMARR, ALExANdERroberTh.sMiThscuLPTurefeLLoWASHMoRE, SoNIAMusLinPubLicATion
VISITINg SCHoLARSCÀNdIdA SMITH, RICHARdorALhisTory/PosTModernisMCoMPToN, ANNcAsTsAndMATeriALcuLTuresLASSER, ETHANTheobJecTLAb:neWAPProAchesTodecorATiVeArTdisPLAysAndinTerPreTATionSCHMIdT, BENJAMINeXoTicPLeAsures:geogrAPhyAndThedecorATiVeArTs1650–1750gARB, TAMARfiguresAndficTions:conTeMPorArysouThAfricAnPhoTogrAPhy
HoNoRARy FELLowS
dR FLoRA dENNIS(susseXuniVersiTy)PRoFESSoR ULRICH LEHMAN(uniVersiTyofcreATiVeArTs)JENNIFER oPIEJENNIFER wEARdENdR SUzANNE FAgENCE CooPER
HoNoRARy SENIoR FELLowS
THoMAS HEATHERwICkSIR PAUL SMITH
PRoFESSoR CHRISToPHER BREwARd(uniVersiTyofedinburgh)PRoFESSoR MALCoLM BAkER(uniVersiTyofcALiforniA,riVerside)ANTHoNy BURToNMARIAN CAMPBELLPRoFESSoR MARgoT FINN(uniVersiTyofWArWick)SIR CHRISToPHER FRAyLINgPRoFESSoR PAUL gREENHALgH(ueAsAinsburycenTreforVisuALArTs)PRoFESSoR MARk HAwoRTH-BooTHPRoFESSoR MAURICE HowARd(uniVersiTyofsusseX)PRoFESSoR PARTHA MITTER(uniVersiTyofsusseX)dR CARoLyN SARgENTSoNSIR Roy STRoNgPRoFESSoR JoHN STyLES(uniVersiyofherTfordshire)dR SUSAN wEBER(bArdgrAduATecenTre,neWyork)PRoFESSoR EVELyN wELCH(QueenMAry,uniVersiTyofLondon)
THE V&A IS gRATEFUL To THE FoLLowINg BENEFACToRS FoR THEIR SUPPoRT oF RESEARCH ACTIVITIES IN THE MUSEUM:
TheArTsAndhuMAniTiesreseArchcounciLThebAndTrusTTheboniTATrusTcouTTsTheenidLinderfoundATionernsT&youngfrenchPorceLAinsocieTyThefriendsofTheV&AsAMfoggThegeTTyfoundATionh.goLdie&coLTddrhiLdALeWisirAnheriTAgefoundATionMrMohAMMedAbduLLATifJAMeeLThePAuLMeLLoncenTreforsTudiesin briTishArTTheMuseuMs,LibrAriesAndArchiVescounciLnehruTrusTJohnrPAdgeTTPAuLAndJiLLruddockMrALirezAsArikhAniTheAMericAnfriendsofTheV&AThrough ThegenerosiTyofroberTh.sMiThThecAnAdiAnfriendsofTheV&AThroughThegenerosiTyofThoMsonWorksofArTToMAssobroThersfineArTukTheToshibAinTernATionALfoundATionTheuniVersiTyofbrighTonTheyALecenTerforbriTishArTuniVersiTyofeAsTLondonTheuniVersiTyofsusseXTheuniVersiTyofWesTengLAndTheWArnecurATorshiPforchiLdren’s LiTerATure:frederickWArne&coPATriciAWengrAfLTd.
AndoThersWhoWishToreMAinAnonyMous
V&ASouth kenSingtonLondon Sw7 2RL+44 (0)20 7942 2000www.vam.ac.uk
V&A MUSEUM oF CHILdHoodcambRidge heath RoadLondon e2 9Pa+44 (0)20 8983 5200