Pantheons: Sculpture at St Paul's Cathedral

在过去的5年里，Long-C19雕塑万神殿已经成为英国及其前殖民地以及整个当代美国重要媒体和公众兴趣的主题，这要归功于黑人的生命也是命，罗兹必须倒下和所有古迹必须倒下的运动，以及英国退欧决定和特朗普当选总统之后。这些影响深远的辩论鼓励我们重新思考最重要的一座长城--圣保罗大教堂(STP)的C19英国雕塑万神殿。包括许多在那个时期工作的最重要的艺术家的500多座纪念碑，万神殿描绘了摄政时期、维多利亚时代和爱德华时代英国最重要的一些人，并解决了英国和前帝国最紧迫的一些问题，包括奴隶、战俘和土著人民的地位和待遇。与20世纪初至20世纪中期的南部邦联士兵纪念碑不同，STP万神殿不太可能在长期内被拆除。每年有超过150万的全球游客参观它，迫切需要为多样化的国内和国际公众重新解释它，他们有兴趣更多地了解英国艺术、身份和历史的意义，以及英国在漫长的19世纪和21世纪初在世界上的地位。考虑到这个不断变化的、多元文化的公众的各种问题，万神殿的信徒们问道，从1795年第一批纪念碑到来到第一次世界大战爆发期间，万神殿有什么特点？在漫长的C19世纪，万神殿在英国、欧洲和帝国的艺术史上扮演了什么角色？它告诉了我们关于1795年至1914年期间英国作为一个国家和帝国强国的历史是什么？最后，万神殿在21世纪第一季度的政治地位是什么？它如何以民主的方式代表公众，并被公众理解？这个项目是STP和约克大学艺术史系之间的长期合作伙伴关系。在许多方面，它也是AHRC以前的地图雕塑1851-1951和展示维多利亚雕塑(约克大学，Co-I)项目的续篇，将耶鲁大学英国艺术与泰特英国中心(Yale Center for British Art&Tate British，2014-2015)的雕塑胜利：发明时代的艺术(1837-1901)的两位策展人聚集在一起。通过这样做，该项目试图巩固雕塑作为思考英国国家和帝国身份的关键艺术媒介的地位，通过探索从拿破仑战争到布尔战争及更远的地方对公民、艺术和教会价值以及帝国和军事行动的描绘，补充现有的殖民风景和肖像、帝国摄影和平面讽刺作品。此外，该项目寻求挑战其他英国艺术国家收藏品的更规范的地位，如英国泰特美术馆和国家肖像美术馆，通过重新关注第一个也是最大的国家资助的英国艺术万神殿。该项目将把新的基于档案和实物的研究与雄心勃勃的概念、数字和媒体议程结合起来，使参观者能够访问大教堂及其网站，探索大教堂的新的、开放的地面计划，包括所有纪念碑；随着时间的推移，检查跨越长C19的新纪念碑的到达和集中在大教堂的不同部分；&在任何时刻和整个时期，确定和绘制地图，准确地记录被纪念的人民的人口统计数据，以及英国世界的地缘政治影响。该项目还将产生四篇文章、一本经过编辑的文集和两本书，一本面向普通公众，一本面向学者，这是150年来的第一本，涉及在圣保罗大教堂展出的公民、教会、艺术、军事和帝国万神殿，以及一部可能为BBC4制作的新纪录片，由该项目的媒体顾问贾尼娜·拉米雷斯博士主持。

Long-C19 sculptural pantheons have become the subject of significant media & popular interest over the last 5 years in Britain and its former colonies, & across the contemporary US, thanks to debates generated by Black Lives Matter, the Rhodes Must Fall & All Monuments Must Fall movements, & in the wake of the Brexit decision & Trump presidency. These far-reaching debates encourage us to think anew about the single most significant long-C19 British sculptural pantheon, at St Paul's Cathedral (StP). Including more than 500 monuments by many of the most important artists working in the period, the pantheon depicts some of Regency, Victorian, & Edwardian Britain's most significant people, & addresses some of the UK & former empire's most pressing questions, including the status & treatment of slaves, prisoners of war, & native peoples. Unlike the early- to mid-C20th monuments to confederate soldiers, the StP pantheon is unlikely to be removed in the long term. Seen annually by more than 1.5M global visitors, it urgently needs to be reinterpreted for a diverse national & international public, interested to learn more about the meanings of British art, identity & history, & Britain's place in the world, in the long 19th & early 21st centuries.With the diverse questions of this changing, multicultural public in mind, Pantheons asks what characterises the pantheon in the period from the arrival of the first monuments in 1795 to the outbreak of WW1? What part does the pantheon play in British, European, & imperial art history in the long C19, & what does it tell us about the history of Britain as a nation & imperial power in the period between 1795 & 1914? Finally, what is the political status of the pantheon in the first quarter of the C21st, & how might it be democratically represented to, & understood by, the public?The project emerges from a sustained partnership between StP & the department of History of Art at the University of York. It also represents a sequel, in many ways, to the AHRC's former Mapping Sculpture 1851-1951 & Displaying Victorian Sculpture (University of York, Co-I) projects, bringing back together two of the curators of the Sculpture Victorious: Art in an Age of Invention, 1837-1901 exhibition at the Yale Center for British Art & Tate Britain (2014-2015). In so doing, the project seeks to cement sculpture's status as perhaps the key artistic medium for thinking about British national & imperial identity, complementing extant work on colonial landscapes & portraiture, imperial photography & graphic satire, by exploring the depiction of civic, artistic, & ecclesiastical worthies, as well as imperial & military actions, from the Napoleonic Wars to the Boer War & beyond. In addition, the project seeks to challenge the more canonical status of other national collections of British art, such as Tate Britain & the National Portrait Gallery, by returning attention to the first, & largest, state-sponsored pantheon of British art.The project will combine new archival & object-based research with an ambitious conceptual, digital, & media agenda that will enable visitors to the cathedral, & to its website, to explore a new, open-access ground plan of the cathedral complete with all the monuments; to examine, over time, the arrival & concentration of new monuments across the long C19th in different parts of the cathedral; & to ascertain & map, at any moment and across the period, the precise demographics of the people commemorated as well as the geopolitical reach of the British world. The project will also lead to four articles, an edited collection, & two books, one for the general public & one for scholars, the first for 150 years, concerned with the civic, ecclesiastical, artistic & military and imperial pantheons on display at St Paul's, as well as a new potential documentary for BBC4, hosted by the project's media advisor, Dr. Janina Ramirez.