British Museum Names Nicholas Cullinan Its New Director as It Tries to Get over a Rocky Patch

Visitors walk outside the British Museum in Bloomsbury, London, Friday, June 26, 2015. (AP)
Visitors walk outside the British Museum in Bloomsbury, London, Friday, June 26, 2015. (AP)
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British Museum Names Nicholas Cullinan Its New Director as It Tries to Get over a Rocky Patch

Visitors walk outside the British Museum in Bloomsbury, London, Friday, June 26, 2015. (AP)
Visitors walk outside the British Museum in Bloomsbury, London, Friday, June 26, 2015. (AP)

The British Museum on Thursday appointed National Portrait Gallery chief Nicholas Cullinan as its new director, as the 265-year-old institution grapples with the apparent theft of hundreds of artifacts and growing international scrutiny of its collection.

Previous director Hartwig Fischer resigned in August after the museum disclosed that more than 1,800 items were missing in an apparent case of insider theft. Many of the items had been offered for sale online.

Mark Jones, former head of the Victoria and Albert Museum, has served as interim director since then. Cullinan will replace him in the summer.

Cullinan has been director of the National Portrait Gallery since 2015, overseeing a major refurbishment of the building beside London’s Trafalgar Square. He has previously worked at Tate Modern in London and the Metropolitan Museum of Art in New York.

His appointment was approved by the British Museum’s trustees and Prime Minister Rishi Sunak.

Cullinan said it was an honor to become director of “one of the greatest museums in the world.”

He said he looked forward to leading the institution through “the most significant transformations, both architectural and intellectual, happening in any museum globally, to continue making the British Museum the most engaged and collaborative it can be.”

The museum fired a longstanding curator, Paul Higgs, over the missing items, and is suing him at the High Court. Lawyers for the museum say Higgs “abused his position of trust” to steal ancient gems, gold jewelry and other pieces from storerooms over the course of a decade.

Higgs, who worked in the museum’s Greece and Rome department for more than two decades, denies the allegations and intends to dispute the museum’s legal claim.

Police are also investigating, but no one has been charged.

The 18th-century museum in central London’s Bloomsbury district is one of Britain’s biggest tourist attractions, visited by 6 million people a year. They come to see a collection that ranges from Egyptian mummies and ancient Greek statues to Viking hoards, scrolls bearing 12th-century Chinese poetry and masks created by the Indigenous peoples of Canada.

The museum faces growing pressure over items taken from other countries during the period of the British Empire -– especially the Parthenon Marbles, 2,500-year-old sculptures that were taken from Athens in the early 19th century by British diplomat Lord Elgin.

Greece has campaigned for decades for the marbles to be returned. The British Museum is banned by law from giving the sculptures back to Greece, but its leaders have held talks with Greek officials about a compromise, such as a long-term loan.

Those efforts suffered a setback in November, when a diplomatic spat erupted over the marbles, and Prime Minister Sunak abruptly canceled a planned meeting with his Greek counterpart, Kyriakos Mitsotakis.

British Museum Chairman George Osborne said that with Cullinan’s appointment, the institution was entering “a new chapter in the long story of the British Museum with confidence, and back on the front foot.”



Saudi Arabia's 'Art of the Kingdom' Exhibition Opens at Paço Imperial in Rio de Janeiro

The exhibition sheds light on Saudi Arabia's history, memory, and cultural tradition. (Saudi Museums Commission)
The exhibition sheds light on Saudi Arabia's history, memory, and cultural tradition. (Saudi Museums Commission)
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Saudi Arabia's 'Art of the Kingdom' Exhibition Opens at Paço Imperial in Rio de Janeiro

The exhibition sheds light on Saudi Arabia's history, memory, and cultural tradition. (Saudi Museums Commission)
The exhibition sheds light on Saudi Arabia's history, memory, and cultural tradition. (Saudi Museums Commission)

The first traveling group exhibition of Saudi contemporary art was inaugurated at the historic Paço Imperial in Rio de Janeiro, Brazil on Sunday.

Titled “Art of the Kingdom”, this landmark exhibition introduces the public to the works of leading contemporary artists from Saudi Arabia, fostering a deeper global understanding of the Kingdom’s evolving art landscape.

Debuting in Brazil, the exhibition will move on a global tour starting with 2025, reaching the National Museum of China in Beijing.

Titled “Poetic Illuminations”, the inaugural edition of this exhibition in Brazil is curated by Diana Wechsler and features 17 Saudi artists from different generations and of various artistic styles, showcasing a diverse collection of artworks ranging from paintings to installations and video works.

The exhibition sheds light on Saudi Arabia's history, memory, and cultural tradition. Woven artistically, it offers audiences in Brazil and beyond the unique opportunity to engage with Saudi Arabia’s cultural narratives and art practices.

“Art has the power to unite people and cultures, and Art of the Kingdom exemplifies this mission,” said Mona Khazindar, advisor at Saudi Arabia’s Ministry of Culture.

“This exhibition not only stands as a testament to the incredible talent of Saudi contemporary artists, it also creates a platform for Saudi artists to share their stories and perspectives with the world. By launching Art of the Kingdom in Rio de Janeiro, we aim to foster cross-cultural dialogue and understanding through art, while celebrating and nurturing Saudi artists’ creativity and empowering local talents to engage with the world,” she added.

On the concept of the exhibition, Wechsler said: “Is it possible to approach a culture through contemporary art? How do the visual arts contribute to reconfiguring the narratives we construct about society, memory, the past, and the present? These two questions are the starting point of the exhibition.”

“Through a curated selection of artists and works, the exhibition seeks to explore these themes, guided by the idea that the essence of art, in conceptual terms, is poetic illumination — its ability to symbolically shed light on the world we inhabit, revealing not only elements of our past but also our dreams, longings, and fantasies,” she emphasized.

Two main themes emerge from the exhibition’s repertoire. One is the desert as a definition of space, infinity, and life; the other is the singularity of cultural tradition, and the evolution of a unique visual culture, shaped by diverse pasts and presents.

The stunning setting of Paço Imperial, a cultural landmark in Rio de Janeiro, adds to the beauty and significance of this exhibition, as it creates an artistic conversation between the historical setup and the contemporary works on display.

As the Kingdom proceeds on an unprecedented journey of cultural transformation, the “Art of the Kingdom” exhibition offers a unique opportunity to explore the ways in which Saudi contemporary art contributes to shaping new cultural narratives.