After a busy few months starring in exhibitions in London and Venice, Jacob Epstein's Rock Drill is back looming over visitors to Gallery 21.

Created in 1913, Epstein's powerful and disturbing sculpture comprised a life-size figure of a visored robotic man seated on an actual rock drill. The original was shown briefly in 1915 and then dismantled, but this reconstruction - made in 1974 from Epstein's studio photographs - allows us to experience how the sculpture would have looked. 

Almost a hundred years after it was made, Rock Drill retains its power. How astonishing must it have looked to gallerygoers who saw it in 1915?

My name’s Portia Light and I’m one of the 29 ‘young curators’ who took part in Style Africa at Birmingham Museum and Art Gallery. I’ve always had a soft spot for fashion and textiles and when a curator from the museum came to the Centre of West African Studies to present on Style Africa, I leapt at the chance to be involved in creating the exhibition.

Sharing ideas 

Style Africa has given me the opportunity to combine my appreciation of all things creative with a chance to understand more about West Afirca. The workshops we attended looked to local clothes makers and textile specialists to help us answer questions such as: Who would wear expensive woven kente cloth? Where is affordable wax print imported from? How is adire (Nigerian tie and dye) made? and Why are the faces of some African political leaders printed on cloth?

‘Nkrumah cloth’ made in Ghana in 2007. 

The trip to the Africa gallery at the British Museum was the first time we got an impression of the scale of the task we had at hand. Everything within the museum had been carefully thought out; like the layout and layering of the textiles on display, the level of lighting, the use of space, and the themes. This gave us ideas on what Style Africa should embody. The workshop we had afterwards allowed everyone to voice their ideas for our exhibition and out of this grew the approach for Style Africa, as well as our floor plan and textile selection. 

Working alongside students from Birmingham City University's Insitute of Art and Design (BIAD) was a brilliant experience; such a mix of innovative, imaginative and amazingly talented people. My favourite workshops were those which involved being trained by conservation specialists in the delicate art that is mannequin stuffing!  I literally had no idea how fiddly it was to create a realistic human form from padding, pins, a cotton t-shirt, and a needle and thread. 

My favourite part of the exhibition itself, and the thing I am most proud of, is the focus of Style Africa. We could have taken an exclusive look at the contemporary fashions of West Africa, but instead chose not only to emphasise the importance of current trends, but to also look deeper into the history and evolution of the production and consumption of West African textiles. I feel this gives visitors a well-rounded view of the subject, which coupled with the use of mannequins, floor-to-ceiling textiles, and a video featuring young people from the Drum Arts Centre, portrays West African style in an exciting and vibrant way.  

Mannequin prepared by the Style Africa participants, supporting a Nigerian-style dress made in Birmingham.

See more images of the Style Africa exhibition on Flickr.

Victoria Osborne talks about the Alexander Munro sculpture inspired by the tragic story of Paolo and Francesca. 

Francesca, engaged to be married against her will, falls in love with her fiance's younger brother Paola. When this is discovered, they are murdered. The sculpture shows the moment when, reading of the love of Lancelot for Guinevere, they are drawn to their first kiss.

This video is subtitled. Start the video and click on the CC at the bottom of the video to bring up the subtitles (also known as Closed Captions).

The Blind Girl was painted by John Everett Millais and completed in 1856. It was acquired by City of Birmingham Museum and Art Gallery in 1892. The popularity of this painting is reflected by the many exhibitions it has appeared in all around the world. This map follows most, although not all, of the places it has been. Total distance recorded on the map: 49,690 miles (79.968 km) - but actually much more as I haven't included all the trips back to Birmingham!

The Blind Girl can usually be found in the Pre-Raphaelite Galleries at Birmingham Museum and Art Gallery (home!).

The Blind Girl by John Everett Millais.

Do you recall Birmingham’s Bullring in the 1960s?

Have you witnessed its dramatic transformation in recent years?

We would love to hear your stories! Find us outside the Jane Norman store in the Upper East Mall at the Bullring between 11am and 4pm this Friday March 23rd.

We are recording oral history about Birmingham for the Your Birmingham gallery - one of the new Birmingham History Galleries that will open at BMAG later this year. Your story could be one of the ones to be recorded and heard by people in the gallery!

We have had a great response from the public when we have asked for their Birmingham memories, so we hope that many will share their stories about the Bullring too!

‘Moving Here’ was a collaboration between BMAG and students from Birmingham School of Acting. The project explores the theme of migration to Birmingham during medieval times and beyond, specifically focussing on why people moved here. The students developed their ideas into four short films with the help of a writer/director and film maker. They humorously look at how the city grew from a small insignificant village into a bustling market town because of success of migration.   

The films will feature in the medieval section of the new Birmingham History Galleries, due to open later this year. This film shows a short snippet from ‘Newsflash 1643’.

Birmingham was legally only a village in the 17th century because its medieval lords never bought a royal charter which would make it a town. Many people moved here because they were free to enter any trade without joining a town guild.  

Last week was the finale of the Make Do and Mend project.  The Museum and University held a special event to reunite the students and members of Birmingham Air Raids Remembrance Association BARRA.  The event was a great success - it was wonderful to see BARRA members and students talking about their work.  

We also announced the winner of the project.  Scott Gethings patriotic 'Dig for Victory' pinafore will be the first outfit from the project to be displayed in the new Birmingham History galleries.  When the new galleries open you will have the opportunity to see all the students work as a fashion style 'look book' will feature as part of the display.

I saved my favourite till last! The message on this handmade Valentine reads:

'Think not lightly Sir of this / For on every spot's A Kiss...'

I really hope when Mr Newman opened it in 1834, he liked it too. Happy Valentine's Day, everyone!

Victoria Osborne, Curator (Fine Art)

Mid-19th-century Valentines were often very elaborate.  This typical card from c.1845-50 features a printed landscape, layers of cut and embossed paper lace with gilt decoration, fabric flowers and a collaged Cupid. 

The message reads:

'My fondest love,

These words express.

Dear Valentine,

The sender, guess.'

This card sent in 1865 combines lace decoration with a moral message.  The pair of compasses refers to a popular saying about moderation and restraint:

'Keep within compass and you shall be sure,

To avoid many troubles which others endure.'

The 'Grand Secret' between the points of the compasses is revealed when the lace flap is lifted: 'I Love You'.

Two comic Valentines, probably from the 1870s...