Introduction:

Stevenson, Alice; Challis, Debbie

doi:10.2307/j.ctt1g69z2n.7

Cited by 2 publications

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“…The show comprised original paintings, photographs, multi-media installations, and sculptures in a range of organic and inorganic materials, introducing sounds, smells, and bright colours to the otherwise traditional gallery. Many other UK museums with Egyptian collections have since supported artist residencies, commissions, and interventions, including Saffron Walden Museum (Tully 2017), the Ashmolean Museum (Palmer 2008), Bolton Museum (Devey 2007), and the Petrie Museum of Egyptian and Sudanese Archaeology (Stevenson and Challis 2015).…”

Section: The Rise Of Artist Interventionsmentioning

confidence: 99%

Dialogues between Past and Present? Modern Art, Contemporary Art Practice, and Ancient Egypt in the Museum

Stevenson

2024

Arts

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Whenever twentieth-century modern art or new contemporary artworks are included amongst displays of ancient Egypt, press statements often assert that such juxtapositions are ‘surprising’, ‘innovative’, and ‘fresh’, celebrating the external perspective they bring to such collections. But contemporary art’s relationship with museums and other disciplines needs to be understood in a longer-term perspective. Pairings of twentieth- and twenty-first-century artistic works with objects of antiquity is an activity that has been undertaken for more than a century in what has been a relatively long period of mutually reinforcing influences between modern/contemporary art, museum display, the art market, and Egyptian heritage. Together, they have decontextualised ancient Egyptian culture and shaped the language and perspectives of scholars, curators, and artists. In this paper, rather than considering how artists have been inspired by ancient Egypt, I will give a few examples of how more recent art practices from the late nineteenth century onwards have impacted the language and discourse of Egyptology and its museum representation. Then, using more recent artist engagements with the British Museum, I argue for greater interdisciplinary dialogues between artists and Egyptologists, as both take more critical stances towards research that recontextualises the power and agency of collections, representation, and knowledge production.

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Section: The Rise Of Artist Interventionsmentioning

confidence: 99%

Dialogues between Past and Present? Modern Art, Contemporary Art Practice, and Ancient Egypt in the Museum

Stevenson

2024

Arts

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Sudan and the Petrie Museum: Histories of Display, Scholarship and Engagement

Garnett

2020

Archaeology International

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Of the 80,600 objects in UCL’s Petrie Museum of Egyptian Archaeology, around 4000 are from Sudan. 1 Flinders Petrie himself did not travel south of Aswan, and these items were acquired through different channels after his death. While many of these are on display in the Museum galleries—albeit tucked amongst the greater proportion of archaeological material from Egypt—much of the Sudanese collection remains in storage due to historic limitations of space. This paper presents an overview of the history of this collection, how it has inspired creative engagement projects targeting diverse museum audiences, and thoughts on future work.

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Introduction:

Cited by 2 publications

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Dialogues between Past and Present? Modern Art, Contemporary Art Practice, and Ancient Egypt in the Museum

Dialogues between Past and Present? Modern Art, Contemporary Art Practice, and Ancient Egypt in the Museum

Sudan and the Petrie Museum: Histories of Display, Scholarship and Engagement

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