The Circumference of the Subject: Figuring Race at Egyptian Hall.
This article examines several exhibitions staged at William Bullock's Egyptian Hall on Piccadilly in the years around 1820. It argues that the complex spatial interplay of the exhibition space reshaped figurations of race across media. Taking as its center the exhibition of Benjamin Robert Haydon's...
| Publicado en: | Huntington Library Quarterly Vol. 87; no. 2; pp. 183 - 206 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
University of Pennsylvania Press
Summer2024
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=186587233&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 186587233 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00187895 HLQ jtl: Huntington Library Quarterly issn: 00187895 maglogo: N pubinfo: dt: Summer2024 vid: 87 iid: 2 pid: 4636 pub: University of Pennsylvania Press artinfo: ui: 186587233 10.1353/hlq.2024.a964271 ppf: 183 ppct: 23 formats: tig: atl: The Circumference of the Subject: Figuring Race at Egyptian Hall. aug: au: Robbins, Nicholas su: Race Exhibition space Artists Spatial arrangement Exhibitions Nineteenth century Art museum curators Race-conscious policy sug: subj: Race Exhibition space Artists Spatial arrangement Exhibitions Nineteenth century Art museum curators Race-conscious policy keyword: art and race Benjamin Robert Haydon British exhibitions Egyptian Hall James Ward natural history Sámi representation Théodore Géricault ab: This article examines several exhibitions staged at William Bullock's Egyptian Hall on Piccadilly in the years around 1820. It argues that the complex spatial interplay of the exhibition space reshaped figurations of race across media. Taking as its center the exhibition of Benjamin Robert Haydon's Christ's Triumphant Entry into Jerusalem (1820), the article explores problems of figure and ground, stasis and movement, and arrival and return that shaped racial ideology in this moment. Ultimately, it explores how such exhibition spaces articulated "race" not only as a perceivable property of an embodied subject, but as a set of spatial relations. Haydon's figuration of the triumphant body's arrival—and its failures—comes into view in relation to Bullock's own natural-historical displays, his "museum" of Napoleonic relics (1816), the disturbing exhibition of a Sámi family (1822), and the display of paintings by James Ward and Théodore Géricault. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
|---|