ABOUT THE V&A
The Victoria and Albert Museum (V&A) houses a permanent collection of more than 4.5 million objects. Named after Prince Albert and Queen Victoria, it was founded in 1852, and has since grown to cover 51,000sq m and 145 galleries. Its collection spans more than 2,000 years of human creativity in virtually every medium, from the cul- tures of Europe, North America, Asia and North Africa. The museum is a non-departmental public body spon- sored by the UK government’s DCMS. The holdings of ceramics, glass,
textiles, costumes, silver, ironwork, jewellery, furniture, medieval objects, sculpture, prints and print making, drawings and photographs are among the largest, important and most com- prehensive in the world.
AM 3 2012 ©cybertrek 2012
an interest, but maybe not the means to receive that information. Museums are the translators. That’s why they’re important.” Roth’s keen to work with other muse-
ums although he acknowledges that when they do, there’s an element of competition between the national museums. “There’s enough intellectual space and real space and even money for all of us,” he says. “I think we can do more together.” An exam- ple of such a collaboration is the Passion for Porcelain exhibition that has just opened at The National Museum in Beijing, China, which Roth worked on with the British Museum’s Neil MacGregor. Although at pains not to start a competi-
tion within British museums, Roth’s pride in the V&A and its staff is impossible to conceal. “The way the V&A changed its management under Mark Jones’ director- ship is rare. I’m not telling other museums to copy it because all the institutions are different, but the V&A model is fantastic.”
The V&A is celebrating the opening of the newly renovated Fashion Galleries with an exhibition of ballgowns and red carpet evening dresses
BALANCING ACT One of the elements that Jones changed, which Roth reveres, is the museum’s pro- gramme, much of which now focuses on creativity. “Our society is changing. People want to learn about the history of making things and how they can apply that,” he explains. “It’s a very welcome change from being passive to being active. Many of our exhibitions have exactly that message.” Last year’s Power of Making was one of
the V&A’s most popular exhibitions and the current display of British Design is follow- ing suit. “That’s part of our success,” Roth says. “We have a balanced programme. The V&A’s a great institution for those who
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