precisely telling the story more truthfully and inclusively. they are takinu truthfully and inclusively. they are takin: our truthfully and inclusively. they are taking our history truthfully and inclusively. they are taking our history through - truthfully and inclusively. they are taking our history through art, - truthfully and inclusively. they are | taking our history through art, that whether that is a brutality of war or the story of empire. hew locke grew up in guyana. this is a nod to the british passport. the british passport. people are d in: to the british passport. people are dying to get the british passport. people are dying to get this the british passport. people are dying to get this thing. - the british passport. people are dying to get this thing. does - the british passport. people are dying to get this thing. does it i dying to get this thing. does it reflect britishness? dying to get this thing. does it reflect britishness? edge - dying to get this thing
it s a truth that this is a deliberately misleading image. it would have been made for planters, people who made huge wealth out of sugar and slavery, while also offering an image that acts like propaganda to people back home. what s your response to people who say, why are you relabelling these things? why are we notjust proud of our history? well, it s actually not superimposing a modern history onto history. it s precisely telling history more truthfully and more inclusively. tate s collection belongs to us all. they are telling our history through art, whether that s the brutality of war, industrialisation and its impact, or the story of empire. i want people to walk right up to it. hew locke grew up in guyana. this work is a nod to the heraldic imagery on a british passport. it s a document which people are fighting for, people are literally dying to get this thing. does it reflect britishness in any sense?
and there is new labelling too, a reminder of what life was really like for workers idealised in this stubbs painting, and slaves depicted amongst the dancers in this 18th century agostino brunias. it s a truth that this is a deliberately misleading image. it would have been made for planters, people who made huge wealth out of sugar and slavery, while also offering an image that acts like propaganda to people back home. what s your response to people who say, why are you relabelling these things? why are we notjust proud of our history? well, it s actually not superimposing a modern history onto history. it s precisely telling history more truthfully had more inclusively. tate s collection belongs to us all. they are telling our history through art, whether that s the brutality of war, industrialisation and its impact, or the story of empire. i want people to walk right up to it. hew locke grew up in guyana.
century agostino brunias. it s a truth that this is a deliberately misleading image. it would have been made for planters, people who made huge wealth out of sugar and slavery, while also offering an image that acts like propaganda to people back home. what s your response to people who say, why are you relabelling these things? why are we notjust proud of our history? well, it s actually not superimposing a modern history onto history. it s precisely telling history more truthfully and more inclusively. tate s collection belongs to us all. they are telling our history through art, whether that s the brutality of war, industrialisation and its impact, or the story of empire. i want people to walk right up to it. hew locke grew up in guyana. this work is a nod to the heraldic imagery on a british passport. it s a document which people are fighting for, people are literally dying to get this thing.