How do we determine whether an object is radical? Ruth Mather on the Farmer’s Arms jug at the People’s History Museum.
How are museums responding to the refugee crisis in Europe? Bryan Sitch on Manchester Museum’s acquisition & display of a refugee’s life jacket from the Greek island of Lesvos.
The political schism is often dubbed “Red versus Yellow” due to the colour of the t-shirts worn by the two rival movements.
Anna Maria Radcliffe created a bed sheet that functioned as an instrument of personal and communal memory, and as an agent of religious and political resistance.
Stephen Williams recounts the 1981 Peasants’ Revolt on Blackheath in South London, galvanising the left’s resistance to a Tory majority and commemorating the 1381 march.
Memorials marking the graves and celebrating the sacrifices of the Restoration martyrs can be read as political texts.
The pacifist handkerchief invites reflections on contested memories in modern Japanese history.
The disruption of a traditionally middle-class patriarchal space and the outrage provoked by attacks on artworks confirmed to suffragettes that the public and the press cared more for valuable objects than for women undergoing forcible feeding.
Grazia De Michele tells the radical history of the Cancer Sucks button, an antidote to the increasingly corporatised pink ribbon.
What does a Jacobite compass in Australia tell us about ‘treacherous objects’, nationalism, material culture, and diaspora today?