Photo by Kristina Gadeikyte via Uplash.

When we talk about colonization, we usually focus on land, armies and political control. But Great Britain’s empire-building wasn’t limited to geography. It also involved the mass appropriation of art and cultural heritage. Much of that legacy is still sitting in British museums today, far from the communities that created it.

Throughout the 18th and 19th centuries, as Britain expanded across Africa, Asia, and the Middle East, it also collected, or more accurately, took an enormous amount of art. Religious relics, royal treasures, sculptures, and manuscripts were removed from colonized nations, often through violence, coercion or exploitation. These objects were shipped back to London and celebrated as symbols of Britain’s supposed cultural superiority.

The British Museum stands as the clearest example of this legacy. Established in 1753, it houses millions of artifacts from around the world, many of which arrived during the peak of imperial expansion. One of the most famous (and controversial) cases is the Elgin Marbles, taken from the Parthenon in Greece by Lord Elgin in the early 1800s. Despite decades of requests from Greece, the marbles remain in London. The story is similar for the Rosetta Stone, which Britain seized from Egypt after defeating Napoleon’s forces in 1799.

Britain’s colonization of art wasn’t just about taking objects. It was about reshaping narratives of culture and civilization. Non-Western art was often exhibited as anthropology rather than high art. African sculptures, Indigenous American artifacts and Asian ceramics were categorized as curiosities, reinforcing racist ideas about Western superiority and “primitive” others. This practice didn’t just misrepresent the art itself; it actively undermined the cultures that produced it.

While some institutions, like the Horniman Museum in London, have begun making small steps toward restitution, many, including the British Museum, have remained resistant, often citing legal barriers or claiming that the artifacts are part of global heritage. But critics argue that real global heritage cannot be built on theft and denial.

Art is not just decorative. It is deeply tied to history, memory, and identity. Keeping these works in British institutions without consent perpetuates the very inequalities created by the Empire. Britain’s colonization of art didn’t end when the Empire did; it is still happening in how museums display, narrate and justify possession today.

From January 16 through March 9, the Stocksdale Gallery is holding an exhibit titled “The Elegant Line: Three Artists, One Show” featuring the work of Cathy Broski, Kēvin Callahan, and Marti Dodge.

Walking into the Stocksdale Gallery, I was mesmerized by the vivacious colors and mood filling the room. A perfect balance of metals, woods, paintings and ceramics came together to form a mellow aura and relaxing environment. I felt as if I had entered a separate dimension of calm and bliss.

The piece that stuck out to me the most was Marti Dodge’s wooden sculpture titled “One World, Same Boat.” It was unique and playful. The simplicity of the artist’s style juxtaposed to its message made it easy to admire, yet thought-provoking. 

Although I have visited many exhibits around the Kansas City area, I have never been as immersed in the art around me as I was when viewing “The Elegant Line.” This exhibit is by far my favorite I’ve seen at the gallery, and I hope to explore more of Marti Dodge’s works in the future.

The following photos were submitted by senior Kari Tott, featuring an anonymous model. Tott showcases the singer, dancer and model in her photos to display the versatility of one location.Each of these photos are taken at the same location but given the illusion of several locations.

The following pictures were submitted by freshman Regan Burgess, featuring St. Pete’s Beach in Florida minutes before a tropical storm, alongside the views from Puerto Vallarta, Mexico. She also photographed a butterfly— which she describes as looking identical to the emoji — that flew near her face and landed right on the leaf.

The following photos were submitted by freshman Koda Payton, who describes the last photo — his favorite — as “a gothic being looking longingly out of a church.” The first photo is of Koda’s cat, Squish, as he yawns in the afternoon light.

Inscape – William Jewell College’s artistic magazine that publishes poetry, fiction, non-fiction and art from Jewell students – released its 2021 edition on April 23, honoring several contributors later that night at the Celebration of Honors.

Four contributing writers and artists received Student Publication Awards this year: Michaela Esau for Inscape Poem of the Year; Jenna Hultgren for Inscape Fiction of the Year; James Hobbs for Inscape Creative Nonfiction of the Year and Kenton Fox-Horst for Inscape Fine Art of the Year. 

Three poems by Esau, junior Oxbridge literature and theory and communications major, were published in the new edition of Inscape: ”The Ninnescah River,” “Paper Crane People” and “Laid Plans.” She emphasized the importance of being in nature and drawing on personal experiences as inspiration for these poems.

“I just love being in nature and I write whatever words that come to mind,” Esau said. “I think it’s easier to write in nature. ‘The Ninnescah River’ was about the time I spent in summer camp and my experience of growing up in church. I think that’s a big part of my life and that was something I reflected on in the poem. ‘Paper Crane People’ is just kind of about how to be a good person. It’s just a combination of different experiences.”

The 2021 issue of Inscape featured many of Jewell’s artistically-inclined students including Esau, Faith Harris, Krista Halstead, Kenton Horst-Fox, Savannah Hawley, Jenna Hultgren, Sequoia Crissman, Erin Gray, James Hobbs, Thom Hennelly and Isabel Warden. 

Although the magazine will not be printed this year, the new issue can be found on Inscape’s website and a physical copy can be purchased for $7.88.