Museums and Heritage, Photography and History, The Tutankhamun Excavation

Imperial amnesia

There’s a pub carved into a corner of the lively market in Norwich, the city where I teach at the University of East Anglia. It’s called The Sir Garnet, its name shortened after a recent refurbishment from The Sir Garnet Wolseley. Sometimes, when giving public talks in or around Norwich, I’ve asked people if they know who Sir Garnet was. No one has ever been able to answer. For all that many people claim to love history – and in Britain, to love British history and British heritage – it’s funny how much history we forget. Or choose to ignore.

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Cartoon from the American magazine Harper’s Weekly, 16 September 1882 – General Wolseley complains to ‘that “horrible pasha”‘ that the British invasion has caused Wolseley, ‘an officer and a gentleman in the Queen’s Army’, to miss a dinner engagement in London. Source: https://archive.nytimes.com/www.nytimes.com/learning/general/onthisday/harp/0916.html

In August and September 1882, Garnet Wolseley’s name was on the front page of every newspaper in Great Britain, because he was commander-in-chief of the British expeditionary force that invaded Egypt, using the Suez Canal as the backdoor for a land invasion to suppress a nationalist uprising led by the Egyptian military leader Ahmed Orabi (also spelled Urabi; he held the honorary civil rank of pasha, too).

The uprising had been rumbling for years, reflecting growing popular resentment of foreign interference in Egypt’s affairs. The British navy had already bombarded Alexandria in July 1882 after a series of riots broke out, aimed against the many European residents of the city – who were associated with preferential treatment and decades of economic exploitation. A full day of shelling, and the fires that followed, destroyed swathes of the city, as documented by Italian photographer Luigi Fiorillo in the days and weeks afterwards. British troops entered and occupied the city as Orabi and his forces fled. In Britain, Prime Minister William Gladstone appointed Wolseley to head an expeditionary force to invade Egypt by land and secure the all-important Canal route. Wolseley’s forces defeated Orabi’s troops at the battle of Tel el-Kebir and soon occupied Cairo. In November, the British Parliament promoted Wolseley to full general, gave him a bonus of £30,000, and made him Baron Wolseley of Cairo and Wolseley. Continue reading “Imperial amnesia”

Museums and Heritage, Photography and History, The Tutankhamun Excavation

Visitor views

‘Simultaneously interesting and uncomfortable.’ That is my favourite comment so far from the guest book that I asked visitors to sign when the ‘Photographing Tutankhamun’ exhibition was on at The Collection, Lincoln over the winter months. Guest books aren’t the most reliable way of knowing what visitors thought of an exhibition, of course. For one thing, the people who write something are usually the ones who were most pleased or most interested – or, perhaps, most offended or annoyed, though fortunately no one has indicated anything like that for the Tutankhamun show. Still, it means that comments may skew towards the positive and come from a self-selected audience.

For another thing, some visitors write down things that are irrelevant (‘I love Romania’, ‘Beatles 4 ever I am the Walrus), a bit rude (‘for a good time call…’), or just plain illegible. And although the guest book was in the exhibition room, with a sign clearly stating that it was for the ‘Photographing Tutankhamun’ project and giving my contact details, some visitors wrote down more general observations about the museum, including ‘Nice museum’, ‘The Fiskerton log boat was amazing’, and ‘I like the dinasore bones’, the last in a child’s emphatic hand, with three carefully inked exclamation points. Continue reading “Visitor views”

Museums and Heritage, Photography and History, The Tutankhamun Excavation

Curating as an ex-curator

At the start of my career, in fact as soon as I started graduate school, I wanted nothing more than to work in a museum. The direct contact with antiquities, the chance to create displays for the public, the swanky receptions that I was sure accompanied exhibition openings: perfect. And I did wind up working in many museums, as a volunteer, as a paid student intern, on short-term contracts, and finally, a permanent contract. From my first behind-the-scenes experience at the Phoebe A. Hearst Museum of Anthropology in 1995, to the day I left my post as curator of the Manchester Museum Egyptian collection, with more relief than regret, I spent more than 11 years working in museums. In all that time, though, I never curated a temporary exhibition. I worked on major gallery overhauls, and I made a few minor tweaks here and there to individual displays. But coming up with a single idea to develop as a temporary show, with the aim of drawing in visitors just for that – nope, never had the chance and never learned the specific skills that it requires. Most of my museum work involved caring for large collections, which meant dealing with day-to-day inquiries, improving storage and cataloguing, and processing loans to other museums that were organizing exhibitions.

Applying for a Mid-Career Fellowship from the British Academy back in 2013 gave me the chance to revisit my curatorial past. To fulfill the public dissemination aspect of the fellowship – that is, how was I going to share my research beyond academia? – I came up with the idea of creating a relatively low-cost, high-quality, photography-based exhibition that could travel to small venues, or to small spaces within larger venues. Because my research is based on the premise that photography was a working tool in archaeology, and was not at all considered some kind of art form, I wanted to get away from the conventional manner of displaying photographs in frames on gallery walls, as I’ve discussed. I also wanted to serve local and regional museums near me – something which seemed a natural fit given that photographer Harry Burton grew up in Stamford, Lincolnshire, while lead excavator Howard Carter grew up in Swaffham, Norfolk. Continue reading “Curating as an ex-curator”

Museums and Heritage, Photography and History, The Tutankhamun Excavation

Displaying photography

It’s done: the last proof has been checked, the ‘send’ button has been pressed, and the panels for the exhibition ‘Photographing Tutankhamun’ have gone to press at the superb Echo House production house. I’ve had many moments of worrying about what visitors will think when the show opens at The Collection in Lincoln in November – but there’s no turning back now.

The idea for this exhibition grew out of a British Academy research fellowship that I held in 2015 – so like most exhibitions, it’s been a long time coming, but with a lot of the work inevitably done in a flurry towards the end. But the central idea hasn’t changed, both in terms of what I wanted to explore in the exhibition, and the physical form I wanted it to take. Let me explain a bit about both, since one informs the other. Continue reading “Displaying photography”

Museums and Heritage, The Tutankhamun Excavation

Tutankhamun goes to the fair

A rollercoaster, a water chute, a dance hall, and a Chinese restaurant: what did any of these have to do with the tomb of Tutankhamun? They were all part of the British Empire Exhibition held at Wembley in 1924 and 1925 – where a reconstruction of the tomb’s Antechamber and its treasures (as they were invariably known) could be found at the far side of the 40-acre amusement area.

Elsewhere at the Exhibition, a ‘Palace of Beauty’ sponsored by Pears, the soap manufacturer, featured lovely young women posing as famous ‘beauties’ of the past (Helen of Troy, Nell Gwynne), though I strongly suspect the ‘Palace of Engineering’ did not give visitors a chance to ogle handsome young men playing Isambard Kingdom Brunel. Instead, each part of the British Empire contributed some kind of display, somewhere. Canada, for instance, was particularly proud of its railways. Continue reading “Tutankhamun goes to the fair”