The miniatures can be seen in a special display in the Rothschild Gallery of Medieval & Renaissance Art (Gallery 32), where they are shown alongside other 16th- and 17th-century miniatures, including examples by Nicholas Hilliard.
The new work called We takes its inspiration from the proposal by Jean-Luc Nancy that “we are” - that we exist through relationship, coupled with a symbolic play on the letters used to denote electricity from which this work is made.
The work inside the Museum will be accessible during normal opening hours. The work outside the Museum will be lit up from 10am-10pm.
The University’s West Cambridge development has proved enormously fruitful for Cambridge Archaeological Unit (CAU), particularly the North West Cambridge site, now renamed Eddington. CAU has been digging on-site for almost 20 years and the extraordinary insights into the area’s prehistoric and Roman past, plus the many Anglo-Saxon, medieval and 20th century finds are of global archaeological significance.
This display celebrates this incredible work and represents the thousands of objects that have been found over the years.
The veil uses chalk from the white cliffs of Dover, in an intervention that beckons forth notions of home, identity — and the presence of the room’s former occupant. Parker’s installation in the House for Actions currently remains on one of the windows in Helen’s bedroom.
Across four weeks in Autumn 2018 Kettle’s Yard presented a programme of quick-fire exhibitions, each lasting for only one week.
A recent body of work by artists Broomberg & Chanarin was shown for the first time in the UK in week three of fig-futures at Kettle’s Yard. Bandage the knife not the wound (2018) is an ongoing series of overlaid photographic prints produced by the artists in what they describe as a ‘visual exchange’.
Inspired by Jim Ede’s friendships, and the relationships that formed the Kettle’s Yard collection, Hamilton has invited other artists to contribute to the new display. Most of these, including Laëtitia Badaut Haussmann, Nicholas Byrne and Roger Phillips were also involved in the Hepworth Wakefield exhibition. Maria Zahle is a new addition to the collaboration.
"On first glance, it seems as if nothing is going on, but you should be able to notice subtle changes in light as clouds pass in front of the sun, animals, people, aeroplanes and boats moving in and out of the frame, and changes in the wind and wave patterns."
Evan Roth
Over the past year, Hannah Kempt-Welch, 2018 Open House artist-in-residence, has been working with groups in North Cambridge to create a new sound work which is shared with you in Hyperlocal Radio.
Made in 1986 during a performance in which Rose Garrard transformed a corner shop into a plaster casting studio, these sculptures juxtapose images of historic women artists and page three girls from the Sun newspaper. They are both a document of the gender politics of the 1980s, and a protest at the exclusion of women artists from the history of art and the objectification of women in the British press. This is the first time the works have been exhibited since 1994.
The money and medals of this 250-year period provide a fascinating insight into broader developments in artistic expression, monarchy, nationhood, and trade in a rapidly expanding world. Coins and medals acted as powerful agents in conveying the official image of the king or queen and commemorating the important events of the day. They also reveal the changing role of money and economic experience through periods of religious conflict, civil war, exploration and the union of the kingdoms of England and Scotland.
