If you were to look inside your mouth (I hope) you would see four different types of teeth: the incisors, canines, premolars and molars. As omnivores with varied diets, humans need these different types of teeth to eat. Our molars are used for chewing, crushing and grinding the food which has been gripped, torn and sliced by the incisors, canines and premolars. Like the animal kingdom itself animal teeth are incredibly varied in their shape and size, making them a fascinating topic of study. Today’s specimen comes from an animal with fewer types of teeth than humans, but considerable size to make up for it. Without further ado let’s get our teeth into this week’s Specimen of the Week…
Archive for the 'Uncategorized' Category
We have some exciting news about Specimen of the Week! We’re expanding the scope of SOTW to include more UCL Museums and collections. Here’s the first blog from the Petrie Museum of Egyptian Archaeology, and keep your eyes peeled for blogs about specimens and objects from UCL Art Museum, UCL Pathology Museum and more as well as your favourites from the Grant Museum.
In a display case in the Petrie Museum of Egyptian Archaeology stands a little mud figure of a pig. At least it is thought to be a pig. It is so small, no bigger than a thumb nail, that you would be excused for not noticing it among the dense displays of archaeological objects. This figurine was originally thought to be a toy made by a child, but is that really true? (more…)
Blog post written by Liz Rideal, Leverhume artist in residence at UCL Art Museum and Reader in Fine Art at the Slade School of Fine Art. She also lectures and writes educational material for the National Portrait Gallery.
Being invited to take up the role of artist in residence at UCL Art Museum was an unexpected outcome of Splicing Time, Rome and the Roman Campagna, my 2016-17 Leverhulme Fellowship.
One theme was to study Claude Lorraine’s Liber Veritatis drawings, in the British Museum’s collection and attempt to plot their contemporary locations, to study his concept of real, imagined and invented landscape and relate this imagery to my own work in the Roman Campagna today. However, it occurred to me that UCL Art Museum might also be a fruitful venue for my quest and I decided to approach curator Andrea Fredericksen to investigate this further. Coincidentally the museum’s upcoming Legacy exhibition was to concentrate on Richard Cooper Jnr, eighteenth century Grand Tour printmaker, an artist who followed the footsteps of Claude Lorraine and who was thus perfectly suited to my own theme. So, in this synchronous and surprising manner I started to consider Cooper Jnr’s work.
Vault artist in residence Kara Chin and Dr Martin Zaltz Austwick from the Bartlett Centre for Advanced Spatial Analysis introduce a screening of Magnetic Rose, a Japanese animé that follows four space travelers who are drawn into an abandoned spaceship that contains a world created by one woman’s memories, alongside It’s a Good Life, an episode of the Twilight Zone television series.
This double programme started with an exchange between Kara and Martin about themes found in science, urban planning, art, films and other cultural productions. The essence of this discussion can be found here. Kara Chin is hosting a screening of the Japanese animé Paprika, also discussed here, on the evening of the 29th of November.
For one day during the Easter holidays, the Grant Museum was taken over by the GeoBus, a new and exciting outreach project from UCL Earth Sciences and coming to schools all across London soon.
GeoBus as a concept started out at St Andrews University back in 2011, the brainchild of Dr Ruth Robinson. The main idea behind the project was to create a bridge between schools, higher education institutes and industry, to show how Earth Science is cross curricular and to include current research in fun and exciting workshops visiting schools. GeoBus UCL is about to launch and we decided to give the public a taster of what might be on offer. (more…)
As a Conservator, I often think of how privileged I am to be able to handle and examine museum objects, up close and personal. Not all objects move me, but at the moment I am very pleased to be working on this one:
Have you ever noticed – as you hurry off to class, the library or an event – that UCL’s campus is filled with works of art?
The Wilkins Building, at the heart of the UCL Bloomsbury campus’ main quad, is particularly rich in sculpture. Outside the building, of course, are the iconic lead athletes on the steps below the dome.
These figures have a fascinating history and I will write more about them another time.
Inside the Wilkins Building, there is an abundance of works on permanent display too. Adjacent to the Jeremy Bentham auto-icon are two large, ancient Egyptian limestone lions in excavated by Sir Wm.M.F. Petrie. There are a number of 19th and early 20th century sculptures on either side of the Octagon Gallery; wall paintings in the Whistler Room (soon to be opened to the public); and upstairs, within the library, a myriad of sculpture in and around the 1st floor Flaxman Gallery. (more…)
Ah! Ça ira, ça ira, ça ira! (Oh! it will go well today, it will go well, it will go well!)
On Thursday 25th February, UCL Chamber Music Club performed a special concert of French Revolutionary music for a public audience in UCL Art Museum. The concert was part of the public programme for the exhibition Revolution under a King: French Prints 1789-92. The repertoire comprised pieces by contemporary composers such as François-Joseph Gossec, J. Rouget de Lisle and Th. Desorgues amongst others.
We wanted to bring the prints in the exhibition to life through music. The responsiveness of music for public spectacle and as a tool to reflect sentiment mirrored the use of print as propaganda during the years of the French Revolution. In the print above, The Three Estates are shown playing the same tune, symbolising their agreement. The member of the clergy (First Estate), playing an instrument known as a serpent (whose implication of duplicity would have been clear to contemporary viewers), faces the oboe-playing aristocrat (Second Estate), while the man in the centre representing the Third Estate, playing his violin, eyes him cautiously. All three types are in keeping with what were, at this point, becoming established ways of representing the Three Estates. Despite the theme of consensus, the clergyman is fat and smug, the noble gaunt and haughty, and the Third Estate watchful and wise; soon, as related prints made clear, they would all dance to his tune.
Blog post for UCL Art Museum, Revolution under a King exhibition by Dr Susannah Walker, UCL Art History Department
On 10th February I joined Dr Richard Taws, the co-curator of UCL Art Museum’s current exhibition Revolution under a King: French Prints 1789-92, to give a lunchtime lecture on the prints in the so called “Age of Revolutions”.
In our continuing series to document the process behind the next exhibition in the Octagon, artists Mark Peter Wright and Helena Hunter who were chosen to work with curators and academic researchers from UCL led by Helen Pike, Public Programmer at The Petrie Museum give an update on their methodology. Mark is an artist and researcher working across sound, video, assemblage and performance and Helena’s practice spans performance, text and moving image. The blog offers a chance for ideas to be presented and hopefully engage comment and conversation!
Over the last couple of months we have been developing a concept and method for material display entitled The Cabinets of Consequence for the forthcoming new Octagon exhibition. This is a reference and adaptation of the ‘Cabinet of Curiosities’. Originating from a 17th century European tradition, cabinets of curiosity were ramshackle rooms furnished with an abundance of objects of artistry, craftsmanship and relics. Wunderkammers as they were called, productively disturb taxonomic conventions of display, however, the emphasis on curiosity detaches objects from their ethical and social-political contexts.
We want to destabilize hierarchies of display but not at the expense of the entangled geo-political histories of archives and processes of asymmetrical extraction on which objects have been collected.
We intend therefore, to emphasize the multiple ecologies (Guattari, 2000) around such materials. The central challenge for us is to hold onto the vibrant materiality of objects, whilst simultaneously projecting matter into its ethico-political milieu: an aesthetics of display that not only works backwards through history, but also forwards, through the present and its possible futures.
‘A new metaphysics (materialism) is not restricted to a here and now, nor does it merely project an image of the future for us. It announces what we may call a “new tradition,” which simultaneously gives us a past, a present, and a future.’ Dolphijn, R & Van der Tuin, I.