Interested in traditional craft processes Ifeoma U. Anyaeji’s work explores transitions of West African culture, specifically drawing on the folklore, fashion, music and poetry of Nigeria, where she is from.
Siwa Mgoboza is a leading interdisciplinary artist of his generation. His photographs and mixed media pieces examine contending cultural and political forces within globalized subjects and the societies in which they find themselves by making use of isiShweshe, a South African cloth with a history of appropriation and cultural exchange.
A crucial part of Stacey's ethnographic research practice is participant observation. At each fair she talks to the art going public to understand why they come to the art fair and how they read and relate to the art on display.
The views and experiences of Ms Kola-Balogun are key to Stacey's research topic. Here Ms Kola-Balogun is pictured at the New York edition of 1-54 in her booth, alongside some of her celebrity clients.
Although the focus of her research is on women, it is crucial that Stacey situates her study in the context of the wider art world. Artists such as Mr Shonibare, who have achieved such phenomenal global success, are a key part of the art world which Stacey is studying.
The views and experiences of artists such as Ms Ogunji are key to Stacey's research topic. Here Ms Ogunji is pictured at the New York edition of 1-54 art fair in the booth of 50 Golborne Art.
Featured in the booth of Sulger-Buel Gallery at the 1-54 art fair, London edition. Peju Alatise is a Nigerian artist, poet, writer and a fellow at the National Museum of African Art, part of the Smithsonian Institution
In the early 1st century BC, Parthia’s territory expanded to the River Euphrates. Parthian and Roman envoys met to establish this landmark as the boundary between the two superpowers. At this first meeting, the Roman magistrate reportedly seized the seat of honour, humiliating his Parthian counterpart as the inferior ambassador. In 53 BC, Parthia finally demonstrated its strength by crushing the Roman army at Carrhae. 30,000 soldiers were killed or captured, and several legionary standards were lost to the Parthians.
Alexandra Magub - School of Oriental and African Studies and The British Museum
The archer on Parthian coins not only represented the military might of the Parthians, but also their Iranian character. Trousers were considered effeminate clothing in the Roman world; however the folds of material (shown on the coins as horizontal lines) prevented saddle chaffing. These mounted archers were a chilling reminder of Rome’s defeat at Carrhae: the Roman historian Justin recounts how the cavalrymen would gallop in retreat, only to turn in the saddle and fire fatal shots from their bows.
© Trustees of the British Museum
In 20 BC, Augustus, Emperor of Rome, and Phraates IV, King of Parthia, negotiated the return of Rome’s captured standards. While both sides benefited from this treaty, Augustus was quick to portray the event as a personal victory. On this coin, a Parthian wearing the characteristic trouser suit returns a standard from his knees. Recounting these events, Augustus published the claim throughout his empire, “I forced the Parthians… as supplicants to accept the friendship of the Roman people“(Res Gestae, 29).
© Trustees of the British Museum