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id="social-redesign-work-container"><div class="upload-header"><h2 class="ds2-5-heading-sans-serif-xs">Uploads</h2></div><div class="nav-container backbone-profile-documents-nav hidden-xs"><ul class="nav-tablist" role="tablist"><li class="nav-chip active" role="presentation"><a data-section-name="" data-toggle="tab" href="#all" role="tab">all</a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Books" data-toggle="tab" href="#books" role="tab" title="Books"><span>6</span> <span class="ds2-5-body-sm-bold">Books</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Edited-Books" data-toggle="tab" href="#editedbooks" role="tab" title="Edited Books"><span>11</span> <span class="ds2-5-body-sm-bold">Edited Books</span></a></li><li class="nav-chip" role="presentation"><a 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data-toggle="tab" href="#talks" role="tab" style="border: none;"><span>4</span> Talks</a></li><li role="presentation"><a data-click-track="profile-works-tab" data-section-name="Non-scholarly-articles-(Press)" data-toggle="tab" href="#nonscholarlyarticlespress" role="tab" style="border: none;"><span>2</span> Non-scholarly articles (Press)</a></li><li role="presentation"><a data-click-track="profile-works-tab" data-section-name="Call-for-papers" data-toggle="tab" href="#callforpapers" role="tab" style="border: none;"><span>16</span> Call for papers</a></li><li role="presentation"><a data-click-track="profile-works-tab" data-section-name="Reviews" data-toggle="tab" href="#reviews" role="tab" style="border: none;"><span>11</span> Reviews</a></li><li role="presentation"><a data-click-track="profile-works-tab" data-section-name="Book-Reviews" data-toggle="tab" href="#bookreviews" role="tab" style="border: none;"><span>1</span> Book Reviews</a></li><li role="presentation"><a data-click-track="profile-works-tab" data-section-name="Teaching-Documents" data-toggle="tab" href="#teachingdocuments" role="tab" style="border: none;"><span>1</span> Teaching Documents</a></li><li role="presentation"><a data-click-track="profile-works-tab" data-section-name="Essays-and-Articles" data-toggle="tab" href="#essaysandarticles" role="tab" style="border: none;"><span>1</span> Essays and Articles</a></li><li role="presentation"><a data-click-track="profile-works-tab" data-section-name="Drafts" data-toggle="tab" href="#drafts" role="tab" style="border: none;"><span>2</span> Drafts</a></li></ul></li></ul></div><div class="divider ds-divider-16" style="margin: 0px;"></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Books" id="Books"><h3 class="profile--tab_heading_container">Books by Noémie Etienne</h3></div><div class="js-work-strip profile--work_container" data-work-id="23527842"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/23527842/XZY_Eternal_Tour_2009"><img alt="Research paper thumbnail of XZY Eternal Tour 2009" class="work-thumbnail" src="https://attachments.academia-assets.com/43962651/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/23527842/XZY_Eternal_Tour_2009">XZY Eternal Tour 2009</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://univie.academia.edu/No%C3%A9mieEtienne">Noémie Etienne</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/DonatellaBernardi2">Donatella Bernardi</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Tourisme – Nationalisme – Orientalisme– Périphérie– Taxinomie– Racisme – Esclavagisme – Exotisme ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Tourisme – Nationalisme – Orientalisme– Périphérie– Taxinomie– Racisme – Esclavagisme – Exotisme – Fabulisme – Féminisme. This book brings together ten articles along with the Eternal Tour Festival 09 programme. An analytical and informative product born of a collective venture, it was modelled upon the almanac – a well-known editorial format in the Frenchspeaking part of Switzerland. Between historical and contemporary culture, it indicates and juxtaposes theoretical or visual schemas that result in a game of cross-references and confrontations.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e283dc78d44876275372390993e0bdac" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":43962651,"asset_id":23527842,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/43962651/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="23527842"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="23527842"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 23527842; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=23527842]").text(description); $(".js-view-count[data-work-id=23527842]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 23527842; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='23527842']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 23527842, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e283dc78d44876275372390993e0bdac" } } $('.js-work-strip[data-work-id=23527842]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":23527842,"title":"XZY Eternal Tour 2009","translated_title":"","metadata":{"abstract":"Tourisme – Nationalisme – Orientalisme– Périphérie– Taxinomie– Racisme – Esclavagisme – Exotisme – Fabulisme – Féminisme. 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Their use developed during the nineteenth century, following reforms aimed at reinforcing the educational dimension of museums. While dioramas with human figures are now the subject of healthy criticism and are gradually being dismantled, a thorough study of the work of artists and scientists who made them helps shed light on their genesis. Among other displays, this book examines anthropological dioramas of two North American museums in the early twentieth century: the American Museum of Natural History in New York, and the New York State Museum. Sites of creation and mediation of knowledge, combining painting, sculpture, photography, and material culture, dioramas tell a story that is always political.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f79060bf98f85ef2d76ee4d9919768a7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":68943196,"asset_id":51091595,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/68943196/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="51091595"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="51091595"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 51091595; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=51091595]").text(description); $(".js-view-count[data-work-id=51091595]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 51091595; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='51091595']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 51091595, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f79060bf98f85ef2d76ee4d9919768a7" } } $('.js-work-strip[data-work-id=51091595]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":51091595,"title":"The Art of the Anthropological Diorama.","translated_title":"","metadata":{"abstract":"Dioramas are devices on the frontier of different disciplines: art, anthropology, and the natural sciences, to name a few. 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Les dioramas de Franz Boas et d'Arthur C. Parker à New York, 1900, Dijon, Les presses du réel, 2020." class="work-thumbnail" src="https://attachments.academia-assets.com/61462742/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41232437/Les_autres_et_les_anc%C3%AAtres_Les_dioramas_de_Franz_Boas_et_dArthur_C_Parker_%C3%A0_New_York_1900_Dijon_Les_presses_du_r%C3%A9el_2020">Les autres et les ancêtres. Les dioramas de Franz Boas et d'Arthur C. Parker à New York, 1900, Dijon, Les presses du réel, 2020.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dioramas are devices on the frontier of different disciplines: art, anthropology, and the natural...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dioramas are devices on the frontier of different disciplines: art, anthropology, and the natural sciences, to name a few. Their use developed during the nineteenth century, following reforms aimed at developing the educational dimension of museums. This book examines anthropological dioramas of two North American museums in the early twentieth century: the American Museum of Natural History in New York (whose Life Groups were assembled by the German anthropologist Franz Boas), and the New York State Museum (whose Groups were overseen by the Seneca archaeologist Arthur C. Parker). While dioramas with human figures are now the subject of harsh criticism and are gradually being dismantled, a thorough study of the work of artists and scientists who made them helps shed light on their genesis. Sites of creation and mediation of knowledge, combining painting, sculpture, photography, and material culture, dioramas tell a story that is always political. They create visions of otherness but also of ancestry that blurs space and time within the museum.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b0b93c8637d68ff4ad235526d55b71dd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61462742,"asset_id":41232437,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61462742/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41232437"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41232437"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41232437; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41232437]").text(description); $(".js-view-count[data-work-id=41232437]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41232437; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41232437']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 41232437, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b0b93c8637d68ff4ad235526d55b71dd" } } $('.js-work-strip[data-work-id=41232437]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41232437,"title":"Les autres et les ancêtres. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="30435806"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/30435806/The_Restoration_of_Paintings_in_Paris_1750_1815_Practice_Discourse_Materiality_Los_Angeles_Getty_Publications_2017"><img alt="Research paper thumbnail of The Restoration of Paintings in Paris, 1750-1815. Practice, Discourse, Materiality, Los Angeles, Getty Publications, 2017." class="work-thumbnail" src="https://attachments.academia-assets.com/50880934/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/30435806/The_Restoration_of_Paintings_in_Paris_1750_1815_Practice_Discourse_Materiality_Los_Angeles_Getty_Publications_2017">The Restoration of Paintings in Paris, 1750-1815. Practice, Discourse, Materiality, Los Angeles, Getty Publications, 2017.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The decades following the 1973 publication of Alessandro Conti’s Storia del Restauro have seen co...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The decades following the 1973 publication of Alessandro Conti’s Storia del Restauro have seen considerable scholarly interest in the history of restoration in France in the second half of the eighteenth century. The Restoration of Paintings in Paris, 1750–1815, however, is the first book to situate this work within the broader historical and philosophical contexts of the time.<br />Drawing on previously unpublished primary material from archives in Paris, Berlin, Rome, and Venice, Noémie Étienne combines art history with anthropology and sociology to survey the waning decades of the Ancien Régime and early post–Revolution France. Initial chapters present the diversity of restoration practice, encompassing not only royal institutions and the Louvre museum but also private art dealers, artists, and craftsmen, and examine questions of trade secrecy and the changing role of the restorer. Following chapters address the influence of restoration and exhibition on the aesthetic understanding of paintings as material objects. The book closes with a discussion of the institutional and political uses of restoration, along with an art historical consideration of such key concepts as authenticity, originality, and stability of artworks, emphasizing the multilayered dimension of paintings by such important artists as Titian and Raphael. There is also a useful dictionary of the main restorers active in France between 1750 and 1815.<br />See more on: <a href="http://shop.getty.edu/collections/conservation/products/the-restoration-of-paintings-in-paris-1750-1815-practice-discourse-materiality-978-1606065167#" rel="nofollow">http://shop.getty.edu/collections/conservation/products/the-restoration-of-paintings-in-paris-1750-1815-practice-discourse-materiality-978-1606065167#</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5f5c1bf7ffb566f2087447a572966ac4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50880934,"asset_id":30435806,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50880934/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30435806"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30435806"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30435806; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30435806]").text(description); $(".js-view-count[data-work-id=30435806]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30435806; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30435806']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 30435806, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5f5c1bf7ffb566f2087447a572966ac4" } } $('.js-work-strip[data-work-id=30435806]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30435806,"title":"The Restoration of Paintings in Paris, 1750-1815. 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Pratiques et discours sur la matérialité des oeuvres d'art, Rennes, PUR, 2012." class="work-thumbnail" src="https://attachments.academia-assets.com/36513820/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/2073738/La_restauration_des_peintures_%C3%A0_Paris_1750_1815_Pratiques_et_discours_sur_la_mat%C3%A9rialit%C3%A9_des_oeuvres_dart_Rennes_PUR_2012">La restauration des peintures à Paris (1750-1815). Pratiques et discours sur la matérialité des oeuvres d'art, Rennes, PUR, 2012.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En restituant avec précision une période essentielle de l’histoire de la restauration de peinture...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En restituant avec précision une période essentielle de l’histoire de la restauration de peinture, ce livre ouvre de nouvelles perspectives pour la recherche en histoire de l’art et souligne que les œuvres sont perpétuellement transformées et instables. Chaque modification invite à redéfinir ce qu’est un tableau, au gré des époques et des pays. L’activité de restauration s’apparente alors à une forme de réception mais aussi de recréation des peintures, dans laquelle le geste est inséparable de la pensée, et la pratique de la théorie.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3228134ab2492b0afafe41229a556c8e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":29801714,"asset_id":2073738,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/29801714/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2073738"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2073738"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2073738; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2073738]").text(description); $(".js-view-count[data-work-id=2073738]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2073738; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='2073738']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 2073738, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3228134ab2492b0afafe41229a556c8e" } } $('.js-work-strip[data-work-id=2073738]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":2073738,"title":"La restauration des peintures à Paris (1750-1815). 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Rennes, Presses universitaires de Rennes, 2012.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">PreSSeS univerSitAireS De renneS -2012 © Presses Universitaires de rennes Campus de la harpe 2, r...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">PreSSeS univerSitAireS De renneS -2012 © Presses Universitaires de rennes Campus de la harpe 2, rue du doyen Denis-leroy -35044 rennes Cedex <a href="http://www.pur-editions.fr" rel="nofollow">www.pur-editions.fr</a> Mise en pages APex Création (Corps-nuds) pour le compte des Pur Dépôt légal : 2 e semestre 2012 iSBn : 978-2-7535-2059-2 iSSn : 1272-1603 7 Remerciements Ce livre est issu d'une thèse de doctorat soutenue en 2011. Je remercie mes directeurs de thèse à Genève et Paris : le professeur Mauro natale, d'une part, pour m'avoir transmis son amour pour les objets tout au long de ma formation, ainsi que pour m'avoir suggéré le sujet de cette recherche, et enfin avoir accueilli avec bienveillance mes différentes interrogations ; le professeur Dominique Poulot, d'autre part, qui a généreusement accepté de suivre ce travail encore balbutiant, et qui m'a ensuite orientée par son savoir et son exigence. Je remercie aussi les membres de mon jury, les professeurs Martin rueff, Bénédicte Savoy, Katie Scott et tristan Weddigen, pour avoir bien voulu contribuer par leurs connaissances à l'évaluation de ce travail.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6333d048fc078e1d8dbb70a24ee23faf" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66298318,"asset_id":46938383,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66298318/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="46938383"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="46938383"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46938383; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46938383]").text(description); $(".js-view-count[data-work-id=46938383]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46938383; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='46938383']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 46938383, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6333d048fc078e1d8dbb70a24ee23faf" } } $('.js-work-strip[data-work-id=46938383]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":46938383,"title":"La restauration des peintures à Paris, 1750-1815. 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Je remercie mes directeurs de thèse à Genève et Paris : le professeur Mauro natale, d'une part, pour m'avoir transmis son amour pour les objets tout au long de ma formation, ainsi que pour m'avoir suggéré le sujet de cette recherche, et enfin avoir accueilli avec bienveillance mes différentes interrogations ; le professeur Dominique Poulot, d'autre part, qui a généreusement accepté de suivre ce travail encore balbutiant, et qui m'a ensuite orientée par son savoir et son exigence. 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Full volume. Open Access made possible by the Swiss National Fund (SNF)</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Circulation and imitation are key factors in shaping the material world. The authors in this volu...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Circulation and imitation are key factors in shaping the material world. The authors in this volume explore how technical knowledge, immaterial desires, and political agendas impact the production and consumption of visual and material culture across times and places. Their essays map multidirectional transactions for cultural goods in which source countries can be positioned at the center. Rhapsodic— literally to stitch or weave songs—paired with objects—from thrown against—intertwines complexity and action. Rhapsodic objects thus beckons to the layered narratives of the objects themselves, their making, and their reception over time. The concept further underlines their potential to express creativity, generate emotion, and reveal histories, often tainted by violence.<br /><br />Citation : Biro, Yaëlle and Etienne, Noémie. Rhapsodic Objects: Art, Agency, and Materiality (1700–2000). Berlin, Boston: De Gruyter, 2021. <a href="https://doi.org/10.1515/9783110757668" rel="nofollow">https://doi.org/10.1515/9783110757668</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b12312f85baa8121a62c3f032252ea71" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":76991177,"asset_id":65360128,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/76991177/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="65360128"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="65360128"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 65360128; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=65360128]").text(description); $(".js-view-count[data-work-id=65360128]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 65360128; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='65360128']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 65360128, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b12312f85baa8121a62c3f032252ea71" } } $('.js-work-strip[data-work-id=65360128]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":65360128,"title":"Rhapsodic Objects: Art, Agency, and Materiality (1700-2000)","translated_title":"","metadata":{"abstract":"Circulation and imitation are key factors in shaping the material world. 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Art, Agency, Materiality (1700-2000)" class="work-thumbnail" src="https://attachments.academia-assets.com/73189832/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/59091659/Rhapsodic_Objects_Art_Agency_Materiality_1700_2000_">Rhapsodic Objects. Art, Agency, Materiality (1700-2000)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Circulation and imitation are key factors in shaping the material world. The authors in this vol...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Circulation and imitation are key factors in shaping the material <br />world. The authors in this volume explore how technical knowledge, <br />immaterial desires, and political agendas impact the production and <br />consumption of visual and material culture across times and places. <br />Their essays map multidirectional transactions for cultural goods in <br />which source countries can be positioned at the center. Rhapsodic— <br />literally to stitch or weave songs—paired with objects—from thrown <br />against—intertwines complexity and action. Rhapsodic objects thus <br />beckons to the layered narratives of the objects themselves, their <br />making, and their reception over time. The concept further underlines <br />their potential to express creativity, generate emotion, and reveal <br />histories, often tainted by violence.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3b5905dd92d72fcdf2b346ce5db0ff5e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":73189832,"asset_id":59091659,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/73189832/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="59091659"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="59091659"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 59091659; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=59091659]").text(description); $(".js-view-count[data-work-id=59091659]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 59091659; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='59091659']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 59091659, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3b5905dd92d72fcdf2b346ce5db0ff5e" } } $('.js-work-strip[data-work-id=59091659]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":59091659,"title":"Rhapsodic Objects. 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Regarder l'ailleurs au siècle des Lumières, Zurich, Diaphanes, 2020." class="work-thumbnail" src="https://attachments.academia-assets.com/64560467/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44197434/Une_Suisse_exotique_Regarder_lailleurs_au_si%C3%A8cle_des_Lumi%C3%A8res_Zurich_Diaphanes_2020">Une Suisse exotique? Regarder l'ailleurs au siècle des Lumières, Zurich, Diaphanes, 2020.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://univie.academia.edu/No%C3%A9mieEtienne">Noémie Etienne</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://mcah.academia.edu/ClaireBrizon">Claire Brizon</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unine.academia.edu/ChonjaLee">Chonja Lee</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Pourquoi un objet, une œuvre d’art, voire une personne, sont-ils considérés comme « exotiques » ?...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Pourquoi un objet, une œuvre d’art, voire une personne, sont-ils considérés comme « exotiques » ? Comment se construit le regard sur les choses ou les gens qui semblent appartenir à d’autres régions, d’autres cultures ? Ces questions sont explorées ici dans un contexte précis : le siècle des Lumières en Suisse. Pour la première fois, des chercheuses et des chercheurs universitaires et des spécialistes du monde des musées sont réunis pour repenser la période au prisme de cette géographie. Ce livre rassemble des articles ainsi que des textes plus courts centrés sur des images, des objets, des livres, ou des spécimens naturels issus des collections muséales helvétiques. « Exotique » désigne dans ce contexte ce qui vient d’ailleurs et peut être utilisé et « amélioré » au profit des puissances européennes. Ce terme invite à reconsidérer à la fois le long XVIIIe siècle et l’histoire internationale de la Suisse.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c43de05cdf6661c6e72043dae58f8b7a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64560467,"asset_id":44197434,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64560467/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44197434"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44197434"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44197434; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44197434]").text(description); $(".js-view-count[data-work-id=44197434]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44197434; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44197434']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44197434, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c43de05cdf6661c6e72043dae58f8b7a" } } $('.js-work-strip[data-work-id=44197434]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44197434,"title":"Une Suisse exotique? 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Looking Outward in the Age of Enlightenment, Zurich, Diaphanes, 2020." class="work-thumbnail" src="https://attachments.academia-assets.com/64540999/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44180811/Exotic_Switzerland_Looking_Outward_in_the_Age_of_Enlightenment_Zurich_Diaphanes_2020">Exotic Switzerland? Looking Outward in the Age of Enlightenment, Zurich, Diaphanes, 2020.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://univie.academia.edu/No%C3%A9mieEtienne">Noémie Etienne</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://mcah.academia.edu/ClaireBrizon">Claire Brizon</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unine.academia.edu/ChonjaLee">Chonja Lee</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Why is an object, an artwork, or a person deemed “exotic”? How does one’s gaze get directed onto ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Why is an object, an artwork, or a person deemed “exotic”? How does one’s gaze get directed onto things or people seemingly belonging to other regions or cultures? These questions are examined here in relation to a specific context: the Enlightenment era from the Swiss perspective. This publication brings together research by academics and museum specialists for the first time in order to rethink this time period and geography. It contains essays and shorter texts centered on pictures, objects, books, and natural specimens from Swiss museum collections. “Exotic” in this context refers to things that come from elsewhere and that can be used and “improved” for the benefit of European powers. The term invites us to reconsider both the long eighteenth century and the international history of Switzerland. </span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7f036a26ab4bfc7e4a7b6a399e710133" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64540999,"asset_id":44180811,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64540999/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44180811"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44180811"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44180811; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44180811]").text(description); $(".js-view-count[data-work-id=44180811]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44180811; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44180811']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44180811, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7f036a26ab4bfc7e4a7b6a399e710133" } } $('.js-work-strip[data-work-id=44180811]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44180811,"title":"Exotic Switzerland? 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Co-edited with Nadia Radwan." class="work-thumbnail" src="https://attachments.academia-assets.com/58334779/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38288218/Lart_du_diorama_1700_2000_Culture_et_Mus%C3%A9es_32_2018_Co_edited_with_Nadia_Radwan">L'art du diorama (1700-2000), Culture et Musées, 32, 2018. Co-edited with Nadia Radwan.</a></div><div class="wp-workCard_item"><span>https://journals.openedition.org/culturemusees/2197</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Twenty years ago, Publics & Musées dedicated an issue to dioramas. This device, which has since b...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Twenty years ago, Publics & Musées dedicated an issue to dioramas. This device, which has since been updated in various forms, particularly in contemporary art, is the subject of a new contribution. This reappraisal problematizes characteristic aspects of the dioramas, such as their narrative power, their hyperrealistic lure, as well as their specific relationship to reality and knowledge. The aim is to refocus the diorama on a study of museum institutions, from production to reception, with an emphasis on their materiality and some of their extreme forms.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c862438bc8b4f9568a9a7722d952f247" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58334779,"asset_id":38288218,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58334779/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38288218"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38288218"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38288218; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38288218]").text(description); $(".js-view-count[data-work-id=38288218]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38288218; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38288218']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38288218, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c862438bc8b4f9568a9a7722d952f247" } } $('.js-work-strip[data-work-id=38288218]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38288218,"title":"L'art du diorama (1700-2000), Culture et Musées, 32, 2018. 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Creating Exoticism and Authenticity in the West, Material Culture Review, 2014." class="work-thumbnail" src="https://attachments.academia-assets.com/36815692/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/10248665/Things_Between_Worlds_Creating_Exoticism_and_Authenticity_in_the_West_Material_Culture_Review_2014">Things Between Worlds. Creating Exoticism and Authenticity in the West, Material Culture Review, 2014.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This special issue of the Material Culture Review is concerned with things being used in a contex...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This special issue of the Material Culture Review is concerned with things being used in a context other than the one in which they originated. Delocalization and relocalization of material culture happen on different scales—not only between different continents, but also within the same country or inside a single apartment. This perspective allows to study the migration of objects from one territory to another.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0573a614ef6929ae2fa0c5124d8afd63" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36815692,"asset_id":10248665,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36815692/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="10248665"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10248665"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10248665; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10248665]").text(description); $(".js-view-count[data-work-id=10248665]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10248665; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10248665']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 10248665, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0573a614ef6929ae2fa0c5124d8afd63" } } $('.js-work-strip[data-work-id=10248665]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10248665,"title":"Things Between Worlds. 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data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/108630753/A_Colossal_Task"><img alt="Research paper thumbnail of A Colossal Task." class="work-thumbnail" src="https://attachments.academia-assets.com/106962712/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/108630753/A_Colossal_Task">A Colossal Task.</a></div><div class="wp-workCard_item"><span>Tangram</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Koloniales Erbe der Schweiz / La Suisse et ses héritages coloniaux / La Svizzera e i suoi retaggi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Koloniales Erbe der Schweiz / La Suisse et ses héritages coloniaux / La Svizzera e i suoi retaggi coloniali. @Swiss Commission against Racism.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4483182cc199e27868a55d16a5e2f572" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":106962712,"asset_id":108630753,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/106962712/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="250105" id="books"><div class="js-work-strip profile--work_container" data-work-id="23527842"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/23527842/XZY_Eternal_Tour_2009"><img alt="Research paper thumbnail of XZY Eternal Tour 2009" class="work-thumbnail" src="https://attachments.academia-assets.com/43962651/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/23527842/XZY_Eternal_Tour_2009">XZY Eternal Tour 2009</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://univie.academia.edu/No%C3%A9mieEtienne">Noémie Etienne</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/DonatellaBernardi2">Donatella Bernardi</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Tourisme – Nationalisme – Orientalisme– Périphérie– Taxinomie– Racisme – Esclavagisme – Exotisme ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Tourisme – Nationalisme – Orientalisme– Périphérie– Taxinomie– Racisme – Esclavagisme – Exotisme – Fabulisme – Féminisme. This book brings together ten articles along with the Eternal Tour Festival 09 programme. An analytical and informative product born of a collective venture, it was modelled upon the almanac – a well-known editorial format in the Frenchspeaking part of Switzerland. Between historical and contemporary culture, it indicates and juxtaposes theoretical or visual schemas that result in a game of cross-references and confrontations.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e283dc78d44876275372390993e0bdac" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":43962651,"asset_id":23527842,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/43962651/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="23527842"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="23527842"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 23527842; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=23527842]").text(description); $(".js-view-count[data-work-id=23527842]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 23527842; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='23527842']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 23527842, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e283dc78d44876275372390993e0bdac" } } $('.js-work-strip[data-work-id=23527842]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":23527842,"title":"XZY Eternal Tour 2009","translated_title":"","metadata":{"abstract":"Tourisme – Nationalisme – Orientalisme– Périphérie– Taxinomie– Racisme – Esclavagisme – Exotisme – Fabulisme – Féminisme. 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Their use developed during the nineteenth century, following reforms aimed at reinforcing the educational dimension of museums. While dioramas with human figures are now the subject of healthy criticism and are gradually being dismantled, a thorough study of the work of artists and scientists who made them helps shed light on their genesis. Among other displays, this book examines anthropological dioramas of two North American museums in the early twentieth century: the American Museum of Natural History in New York, and the New York State Museum. Sites of creation and mediation of knowledge, combining painting, sculpture, photography, and material culture, dioramas tell a story that is always political.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f79060bf98f85ef2d76ee4d9919768a7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":68943196,"asset_id":51091595,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/68943196/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="51091595"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="51091595"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 51091595; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=51091595]").text(description); $(".js-view-count[data-work-id=51091595]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 51091595; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='51091595']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 51091595, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f79060bf98f85ef2d76ee4d9919768a7" } } $('.js-work-strip[data-work-id=51091595]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":51091595,"title":"The Art of the Anthropological Diorama.","translated_title":"","metadata":{"abstract":"Dioramas are devices on the frontier of different disciplines: art, anthropology, and the natural sciences, to name a few. 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Les dioramas de Franz Boas et d'Arthur C. Parker à New York, 1900, Dijon, Les presses du réel, 2020." class="work-thumbnail" src="https://attachments.academia-assets.com/61462742/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41232437/Les_autres_et_les_anc%C3%AAtres_Les_dioramas_de_Franz_Boas_et_dArthur_C_Parker_%C3%A0_New_York_1900_Dijon_Les_presses_du_r%C3%A9el_2020">Les autres et les ancêtres. Les dioramas de Franz Boas et d'Arthur C. Parker à New York, 1900, Dijon, Les presses du réel, 2020.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dioramas are devices on the frontier of different disciplines: art, anthropology, and the natural...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dioramas are devices on the frontier of different disciplines: art, anthropology, and the natural sciences, to name a few. Their use developed during the nineteenth century, following reforms aimed at developing the educational dimension of museums. This book examines anthropological dioramas of two North American museums in the early twentieth century: the American Museum of Natural History in New York (whose Life Groups were assembled by the German anthropologist Franz Boas), and the New York State Museum (whose Groups were overseen by the Seneca archaeologist Arthur C. Parker). While dioramas with human figures are now the subject of harsh criticism and are gradually being dismantled, a thorough study of the work of artists and scientists who made them helps shed light on their genesis. Sites of creation and mediation of knowledge, combining painting, sculpture, photography, and material culture, dioramas tell a story that is always political. They create visions of otherness but also of ancestry that blurs space and time within the museum.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b0b93c8637d68ff4ad235526d55b71dd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61462742,"asset_id":41232437,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61462742/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41232437"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41232437"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41232437; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41232437]").text(description); $(".js-view-count[data-work-id=41232437]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41232437; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41232437']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 41232437, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b0b93c8637d68ff4ad235526d55b71dd" } } $('.js-work-strip[data-work-id=41232437]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41232437,"title":"Les autres et les ancêtres. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="30435806"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/30435806/The_Restoration_of_Paintings_in_Paris_1750_1815_Practice_Discourse_Materiality_Los_Angeles_Getty_Publications_2017"><img alt="Research paper thumbnail of The Restoration of Paintings in Paris, 1750-1815. Practice, Discourse, Materiality, Los Angeles, Getty Publications, 2017." class="work-thumbnail" src="https://attachments.academia-assets.com/50880934/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/30435806/The_Restoration_of_Paintings_in_Paris_1750_1815_Practice_Discourse_Materiality_Los_Angeles_Getty_Publications_2017">The Restoration of Paintings in Paris, 1750-1815. Practice, Discourse, Materiality, Los Angeles, Getty Publications, 2017.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The decades following the 1973 publication of Alessandro Conti’s Storia del Restauro have seen co...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The decades following the 1973 publication of Alessandro Conti’s Storia del Restauro have seen considerable scholarly interest in the history of restoration in France in the second half of the eighteenth century. The Restoration of Paintings in Paris, 1750–1815, however, is the first book to situate this work within the broader historical and philosophical contexts of the time.<br />Drawing on previously unpublished primary material from archives in Paris, Berlin, Rome, and Venice, Noémie Étienne combines art history with anthropology and sociology to survey the waning decades of the Ancien Régime and early post–Revolution France. Initial chapters present the diversity of restoration practice, encompassing not only royal institutions and the Louvre museum but also private art dealers, artists, and craftsmen, and examine questions of trade secrecy and the changing role of the restorer. Following chapters address the influence of restoration and exhibition on the aesthetic understanding of paintings as material objects. The book closes with a discussion of the institutional and political uses of restoration, along with an art historical consideration of such key concepts as authenticity, originality, and stability of artworks, emphasizing the multilayered dimension of paintings by such important artists as Titian and Raphael. There is also a useful dictionary of the main restorers active in France between 1750 and 1815.<br />See more on: <a href="http://shop.getty.edu/collections/conservation/products/the-restoration-of-paintings-in-paris-1750-1815-practice-discourse-materiality-978-1606065167#" rel="nofollow">http://shop.getty.edu/collections/conservation/products/the-restoration-of-paintings-in-paris-1750-1815-practice-discourse-materiality-978-1606065167#</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5f5c1bf7ffb566f2087447a572966ac4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50880934,"asset_id":30435806,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50880934/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30435806"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30435806"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30435806; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30435806]").text(description); $(".js-view-count[data-work-id=30435806]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30435806; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30435806']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 30435806, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5f5c1bf7ffb566f2087447a572966ac4" } } $('.js-work-strip[data-work-id=30435806]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30435806,"title":"The Restoration of Paintings in Paris, 1750-1815. 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There is also a useful dictionary of the main restorers active in France between 1750 and 1815.\nSee more on: http://shop.getty.edu/collections/conservation/products/the-restoration-of-paintings-in-paris-1750-1815-practice-discourse-materiality-978-1606065167#"},"translated_abstract":"The decades following the 1973 publication of Alessandro Conti’s Storia del Restauro have seen considerable scholarly interest in the history of restoration in France in the second half of the eighteenth century. The Restoration of Paintings in Paris, 1750–1815, however, is the first book to situate this work within the broader historical and philosophical contexts of the time.\nDrawing on previously unpublished primary material from archives in Paris, Berlin, Rome, and Venice, Noémie Étienne combines art history with anthropology and sociology to survey the waning decades of the Ancien Régime and early post–Revolution France. 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Pratiques et discours sur la matérialité des oeuvres d'art, Rennes, PUR, 2012." class="work-thumbnail" src="https://attachments.academia-assets.com/36513820/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/2073738/La_restauration_des_peintures_%C3%A0_Paris_1750_1815_Pratiques_et_discours_sur_la_mat%C3%A9rialit%C3%A9_des_oeuvres_dart_Rennes_PUR_2012">La restauration des peintures à Paris (1750-1815). Pratiques et discours sur la matérialité des oeuvres d'art, Rennes, PUR, 2012.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En restituant avec précision une période essentielle de l’histoire de la restauration de peinture...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En restituant avec précision une période essentielle de l’histoire de la restauration de peinture, ce livre ouvre de nouvelles perspectives pour la recherche en histoire de l’art et souligne que les œuvres sont perpétuellement transformées et instables. Chaque modification invite à redéfinir ce qu’est un tableau, au gré des époques et des pays. L’activité de restauration s’apparente alors à une forme de réception mais aussi de recréation des peintures, dans laquelle le geste est inséparable de la pensée, et la pratique de la théorie.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3228134ab2492b0afafe41229a556c8e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":29801714,"asset_id":2073738,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/29801714/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2073738"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2073738"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2073738; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2073738]").text(description); $(".js-view-count[data-work-id=2073738]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2073738; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='2073738']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 2073738, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3228134ab2492b0afafe41229a556c8e" } } $('.js-work-strip[data-work-id=2073738]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":2073738,"title":"La restauration des peintures à Paris (1750-1815). 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Rennes, Presses universitaires de Rennes, 2012." class="work-thumbnail" src="https://attachments.academia-assets.com/66298318/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/46938383/La_restauration_des_peintures_%C3%A0_Paris_1750_1815_Rennes_Presses_universitaires_de_Rennes_2012">La restauration des peintures à Paris, 1750-1815. Rennes, Presses universitaires de Rennes, 2012.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">PreSSeS univerSitAireS De renneS -2012 © Presses Universitaires de rennes Campus de la harpe 2, r...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">PreSSeS univerSitAireS De renneS -2012 © Presses Universitaires de rennes Campus de la harpe 2, rue du doyen Denis-leroy -35044 rennes Cedex <a href="http://www.pur-editions.fr" rel="nofollow">www.pur-editions.fr</a> Mise en pages APex Création (Corps-nuds) pour le compte des Pur Dépôt légal : 2 e semestre 2012 iSBn : 978-2-7535-2059-2 iSSn : 1272-1603 7 Remerciements Ce livre est issu d'une thèse de doctorat soutenue en 2011. Je remercie mes directeurs de thèse à Genève et Paris : le professeur Mauro natale, d'une part, pour m'avoir transmis son amour pour les objets tout au long de ma formation, ainsi que pour m'avoir suggéré le sujet de cette recherche, et enfin avoir accueilli avec bienveillance mes différentes interrogations ; le professeur Dominique Poulot, d'autre part, qui a généreusement accepté de suivre ce travail encore balbutiant, et qui m'a ensuite orientée par son savoir et son exigence. 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Full volume. Open Access made possible by the Swiss National Fund (SNF)</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Circulation and imitation are key factors in shaping the material world. The authors in this volu...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Circulation and imitation are key factors in shaping the material world. The authors in this volume explore how technical knowledge, immaterial desires, and political agendas impact the production and consumption of visual and material culture across times and places. Their essays map multidirectional transactions for cultural goods in which source countries can be positioned at the center. Rhapsodic— literally to stitch or weave songs—paired with objects—from thrown against—intertwines complexity and action. Rhapsodic objects thus beckons to the layered narratives of the objects themselves, their making, and their reception over time. The concept further underlines their potential to express creativity, generate emotion, and reveal histories, often tainted by violence.<br /><br />Citation : Biro, Yaëlle and Etienne, Noémie. Rhapsodic Objects: Art, Agency, and Materiality (1700–2000). Berlin, Boston: De Gruyter, 2021. <a href="https://doi.org/10.1515/9783110757668" rel="nofollow">https://doi.org/10.1515/9783110757668</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b12312f85baa8121a62c3f032252ea71" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":76991177,"asset_id":65360128,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/76991177/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="65360128"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="65360128"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 65360128; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=65360128]").text(description); $(".js-view-count[data-work-id=65360128]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 65360128; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='65360128']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 65360128, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b12312f85baa8121a62c3f032252ea71" } } $('.js-work-strip[data-work-id=65360128]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":65360128,"title":"Rhapsodic Objects: Art, Agency, and Materiality (1700-2000)","translated_title":"","metadata":{"abstract":"Circulation and imitation are key factors in shaping the material world. 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Art, Agency, Materiality (1700-2000)" class="work-thumbnail" src="https://attachments.academia-assets.com/73189832/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/59091659/Rhapsodic_Objects_Art_Agency_Materiality_1700_2000_">Rhapsodic Objects. Art, Agency, Materiality (1700-2000)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Circulation and imitation are key factors in shaping the material world. The authors in this vol...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Circulation and imitation are key factors in shaping the material <br />world. The authors in this volume explore how technical knowledge, <br />immaterial desires, and political agendas impact the production and <br />consumption of visual and material culture across times and places. <br />Their essays map multidirectional transactions for cultural goods in <br />which source countries can be positioned at the center. Rhapsodic— <br />literally to stitch or weave songs—paired with objects—from thrown <br />against—intertwines complexity and action. Rhapsodic objects thus <br />beckons to the layered narratives of the objects themselves, their <br />making, and their reception over time. The concept further underlines <br />their potential to express creativity, generate emotion, and reveal <br />histories, often tainted by violence.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3b5905dd92d72fcdf2b346ce5db0ff5e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":73189832,"asset_id":59091659,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/73189832/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="59091659"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="59091659"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 59091659; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=59091659]").text(description); $(".js-view-count[data-work-id=59091659]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 59091659; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='59091659']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 59091659, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3b5905dd92d72fcdf2b346ce5db0ff5e" } } $('.js-work-strip[data-work-id=59091659]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":59091659,"title":"Rhapsodic Objects. 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Regarder l'ailleurs au siècle des Lumières, Zurich, Diaphanes, 2020." class="work-thumbnail" src="https://attachments.academia-assets.com/64560467/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44197434/Une_Suisse_exotique_Regarder_lailleurs_au_si%C3%A8cle_des_Lumi%C3%A8res_Zurich_Diaphanes_2020">Une Suisse exotique? Regarder l'ailleurs au siècle des Lumières, Zurich, Diaphanes, 2020.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://univie.academia.edu/No%C3%A9mieEtienne">Noémie Etienne</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://mcah.academia.edu/ClaireBrizon">Claire Brizon</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unine.academia.edu/ChonjaLee">Chonja Lee</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Pourquoi un objet, une œuvre d’art, voire une personne, sont-ils considérés comme « exotiques » ?...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Pourquoi un objet, une œuvre d’art, voire une personne, sont-ils considérés comme « exotiques » ? Comment se construit le regard sur les choses ou les gens qui semblent appartenir à d’autres régions, d’autres cultures ? Ces questions sont explorées ici dans un contexte précis : le siècle des Lumières en Suisse. Pour la première fois, des chercheuses et des chercheurs universitaires et des spécialistes du monde des musées sont réunis pour repenser la période au prisme de cette géographie. Ce livre rassemble des articles ainsi que des textes plus courts centrés sur des images, des objets, des livres, ou des spécimens naturels issus des collections muséales helvétiques. « Exotique » désigne dans ce contexte ce qui vient d’ailleurs et peut être utilisé et « amélioré » au profit des puissances européennes. Ce terme invite à reconsidérer à la fois le long XVIIIe siècle et l’histoire internationale de la Suisse.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c43de05cdf6661c6e72043dae58f8b7a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64560467,"asset_id":44197434,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64560467/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44197434"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44197434"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44197434; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44197434]").text(description); $(".js-view-count[data-work-id=44197434]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44197434; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44197434']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44197434, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c43de05cdf6661c6e72043dae58f8b7a" } } $('.js-work-strip[data-work-id=44197434]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44197434,"title":"Une Suisse exotique? 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Looking Outward in the Age of Enlightenment, Zurich, Diaphanes, 2020." class="work-thumbnail" src="https://attachments.academia-assets.com/64540999/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44180811/Exotic_Switzerland_Looking_Outward_in_the_Age_of_Enlightenment_Zurich_Diaphanes_2020">Exotic Switzerland? Looking Outward in the Age of Enlightenment, Zurich, Diaphanes, 2020.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://univie.academia.edu/No%C3%A9mieEtienne">Noémie Etienne</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://mcah.academia.edu/ClaireBrizon">Claire Brizon</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unine.academia.edu/ChonjaLee">Chonja Lee</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Why is an object, an artwork, or a person deemed “exotic”? How does one’s gaze get directed onto ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Why is an object, an artwork, or a person deemed “exotic”? How does one’s gaze get directed onto things or people seemingly belonging to other regions or cultures? These questions are examined here in relation to a specific context: the Enlightenment era from the Swiss perspective. This publication brings together research by academics and museum specialists for the first time in order to rethink this time period and geography. It contains essays and shorter texts centered on pictures, objects, books, and natural specimens from Swiss museum collections. “Exotic” in this context refers to things that come from elsewhere and that can be used and “improved” for the benefit of European powers. The term invites us to reconsider both the long eighteenth century and the international history of Switzerland. </span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7f036a26ab4bfc7e4a7b6a399e710133" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64540999,"asset_id":44180811,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64540999/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44180811"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44180811"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44180811; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44180811]").text(description); $(".js-view-count[data-work-id=44180811]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44180811; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44180811']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44180811, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7f036a26ab4bfc7e4a7b6a399e710133" } } $('.js-work-strip[data-work-id=44180811]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44180811,"title":"Exotic Switzerland? 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Co-edited with Nadia Radwan." class="work-thumbnail" src="https://attachments.academia-assets.com/58334779/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38288218/Lart_du_diorama_1700_2000_Culture_et_Mus%C3%A9es_32_2018_Co_edited_with_Nadia_Radwan">L'art du diorama (1700-2000), Culture et Musées, 32, 2018. Co-edited with Nadia Radwan.</a></div><div class="wp-workCard_item"><span>https://journals.openedition.org/culturemusees/2197</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Twenty years ago, Publics & Musées dedicated an issue to dioramas. This device, which has since b...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Twenty years ago, Publics & Musées dedicated an issue to dioramas. This device, which has since been updated in various forms, particularly in contemporary art, is the subject of a new contribution. This reappraisal problematizes characteristic aspects of the dioramas, such as their narrative power, their hyperrealistic lure, as well as their specific relationship to reality and knowledge. The aim is to refocus the diorama on a study of museum institutions, from production to reception, with an emphasis on their materiality and some of their extreme forms.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c862438bc8b4f9568a9a7722d952f247" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58334779,"asset_id":38288218,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58334779/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38288218"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38288218"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38288218; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38288218]").text(description); $(".js-view-count[data-work-id=38288218]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38288218; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38288218']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38288218, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c862438bc8b4f9568a9a7722d952f247" } } $('.js-work-strip[data-work-id=38288218]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38288218,"title":"L'art du diorama (1700-2000), Culture et Musées, 32, 2018. 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Creating Exoticism and Authenticity in the West, Material Culture Review, 2014." class="work-thumbnail" src="https://attachments.academia-assets.com/36815692/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/10248665/Things_Between_Worlds_Creating_Exoticism_and_Authenticity_in_the_West_Material_Culture_Review_2014">Things Between Worlds. Creating Exoticism and Authenticity in the West, Material Culture Review, 2014.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This special issue of the Material Culture Review is concerned with things being used in a contex...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This special issue of the Material Culture Review is concerned with things being used in a context other than the one in which they originated. Delocalization and relocalization of material culture happen on different scales—not only between different continents, but also within the same country or inside a single apartment. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="74956930"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/74956930/Museum_conservation_between_colonial_violence_and_symbolic_repair"><img alt="Research paper thumbnail of Museum conservation between colonial violence and symbolic repair" class="work-thumbnail" src="https://attachments.academia-assets.com/82921155/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/74956930/Museum_conservation_between_colonial_violence_and_symbolic_repair">Museum conservation between colonial violence and symbolic repair</a></div><div class="wp-workCard_item"><span> Museum and Social Issues, Routledge </span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Recently, museums have been under growing scrutiny. The public debate has focused mainly on two t...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Recently, museums have been under growing scrutiny. The public debate has focused mainly on two things: The way cultures and objects are presented and displayed in museum galleries and the questions of restitution. However, 80-99% of a museum's collection is and will probably remain in storage. This paper changes the focus from exhibition or restitution to conservation, understood as a set of practices preserving and giving access to art and material culture. More precisely, I study preventative conservation and collection management as political actions. Building upon the unvaluable work carried by conservators in the US and beyond, but also including other voices and alternative gestures, I aim to start a conversation about what conservation could be in a postcolonial museum.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="eef1757f13e82e5c4d6bbfe00417d9e9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":82921155,"asset_id":74956930,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/82921155/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="74956930"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="74956930"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 74956930; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=74956930]").text(description); $(".js-view-count[data-work-id=74956930]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 74956930; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='74956930']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 74956930, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "eef1757f13e82e5c4d6bbfe00417d9e9" } } $('.js-work-strip[data-work-id=74956930]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":74956930,"title":"Museum conservation between colonial violence and symbolic repair","translated_title":"","metadata":{"doi":"10.1080/15596893.2022.2057413","abstract":"Recently, museums have been under growing scrutiny. 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Building upon the unvaluable work carried by conservators in the US and beyond, but also including other voices and alternative gestures, I aim to start a conversation about what conservation could be in a postcolonial museum.","internal_url":"https://www.academia.edu/74956930/Museum_conservation_between_colonial_violence_and_symbolic_repair","translated_internal_url":"","created_at":"2022-03-30T02:57:40.393-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":1134414,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":82921155,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/82921155/thumbnails/1.jpg","file_name":"Museum_conservation_between_colonial_violence_and_symbolic_repair.pdf","download_url":"https://www.academia.edu/attachments/82921155/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Museum_conservation_between_colonial_vio.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/82921155/Museum_conservation_between_colonial_violence_and_symbolic_repair-libre.pdf?1648634745=\u0026response-content-disposition=attachment%3B+filename%3DMuseum_conservation_between_colonial_vio.pdf\u0026Expires=1737560578\u0026Signature=LqLx3VC7uGfWH1TXVINsreZHR1gDNfUq56tZBHdTp2OgtF3s~Os4xo06kIXzQFoho2uygUvTbGa7lOrseI~GqQOyq7r02O1azO1KaqdMFOwB2rfefwIuasAhVKTrfNOq6GOaE7qJPQkZOEsjM8GfVoyVUaoaOYQmWcdr7lZfsmVfH5E-llcsIriXQR6-KLyotc26oukyTA-INu4dqOr~ayv8tihVZfyx569~d5CYbn5M-l7DUJmIxSPPrFsxwu1gesx9bsyI-74pV2xQJ2hHFKihkUf0E4aX306XF06wFmhFVVOZdLWEY7QE8vfRZRLsR-JpkpiIhWsae38LzhW-MA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Museum_conservation_between_colonial_violence_and_symbolic_repair","translated_slug":"","page_count":12,"language":"en","content_type":"Work","summary":"Recently, museums have been under growing scrutiny. 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Life Casts, Human Remains and Art History", in F. Bodenstein, D. Otoiu, E-M Troelenberge (eds.), Contested Holdings. Museum Collections in Political, Epistemic and Artistic Processes of Return, New York, Berghan, 2022, pp. 81-96." class="work-thumbnail" src="https://attachments.academia-assets.com/79075033/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/68677502/_Blurring_Objects_Life_Casts_Human_Remains_and_Art_History_in_F_Bodenstein_D_Otoiu_E_M_Troelenberge_eds_Contested_Holdings_Museum_Collections_in_Political_Epistemic_and_Artistic_Processes_of_Return_New_York_Berghan_2022_pp_81_96">"Blurring Objects. Life Casts, Human Remains and Art History", in F. Bodenstein, D. Otoiu, E-M Troelenberge (eds.), Contested Holdings. Museum Collections in Political, Epistemic and Artistic Processes of Return, New York, Berghan, 2022, pp. 81-96.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">As houses of memory and sources of information about the world, museums function as a dynamic int...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">As houses of memory and sources of information about the world, museums function as a dynamic interface between past, present and future. Museum collections are increasingly being recognized as material archives of human creativity and as invaluable resources for interdisciplinary research. Museums provide powerful forums for the expression of ideas and are central to the production of public culture: they may inspire the imagination, generate heated emotions and express conflicting values in their material form and histories. This series explores the potential of museum collections to transform our knowledge of the world, and for exhibitions to influence the way in which we view and inhabit that world. 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At the opening ceremony in 2004 of the National Museum of the American Indian in Washington, D. C., Richard W. Hill, assistant to the director and a member of the Tuscarora (Skaruhreh) Nation, declared them intrinsically problematic: Dioramas are in themselves a throwback to the old-style museums that freeze Indians in the past. … Will museums forever associate Indians with dioramas containing life-size figures? Will museum visitors always expect to see casts of Indians next to the stuffed animals, mechanical dinosaurs, and replicated fauna?1 Earlier judgments were less damning. In 1943, Claude Lévi-Strauss published an article in the Gazette des Beaux-Arts (which he then republished in La voie des masques [1975; The Way of the Masks, 1982]) in which he described the museography established by the anthropologist Franz Boas at the American Museum of Natural History (AMNH), located west of Central Park, at the heart of Manhattan Island:</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="abacffa89730d00cd4fce0330a77710b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":69513744,"asset_id":52087637,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/69513744/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="52087637"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="52087637"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 52087637; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=52087637]").text(description); $(".js-view-count[data-work-id=52087637]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 52087637; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='52087637']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 52087637, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "abacffa89730d00cd4fce0330a77710b" } } $('.js-work-strip[data-work-id=52087637]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":52087637,"title":"\"Introduction,\" The Art of the Anthropological Diorama, Berlin/Boston, De Gruyter, 2021.","translated_title":"","metadata":{"abstract":"Since the 1990s, diorama displays in anthropological and natural history museums have come under fierce criticism. 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At the opening ceremony in 2004 of the National Museum of the American Indian in Washington, D. C., Richard W. Hill, assistant to the director and a member of the Tuscarora (Skaruhreh) Nation, declared them intrinsically problematic: Dioramas are in themselves a throwback to the old-style museums that freeze Indians in the past. … Will museums forever associate Indians with dioramas containing life-size figures? Will museum visitors always expect to see casts of Indians next to the stuffed animals, mechanical dinosaurs, and replicated fauna?1 Earlier judgments were less damning. 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A note on on traces, threads and fragility. https://www.goethe.de/prj/lat/en/spu/22261028.html" class="work-thumbnail" src="https://attachments.academia-assets.com/67709546/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/49323577/Who_cares_A_note_on_on_traces_threads_and_fragility_https_www_goethe_de_prj_lat_en_spu_22261028_html">Who cares? A note on on traces, threads and fragility. https://www.goethe.de/prj/lat/en/spu/22261028.html</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What is the role of conservation in a postcolonial museum? Does it allow cultural dialogue or per...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What is the role of conservation in a postcolonial museum? 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Introduction" class="work-thumbnail" src="https://attachments.academia-assets.com/64829828/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44416924/Une_Suisse_exotique_Introduction">Une Suisse exotique? Introduction</a></div><div class="wp-workCard_item"><span>Une Suisse exotique? Regarder l'ailleurs au siècle des Lumières, Zurich, Diaphanes</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Pourquoi un objet, un vêtement, voire une personne, sont-ils perçus comme « exotiques » ? Plus la...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Pourquoi un objet, un vêtement, voire une personne, sont-ils perçus comme « exotiques » ? Plus largement, comment se construit le regard sur les choses ou les gens qui nous semblent appartenir à d'autres régions, d'autres continents ? Enfin, comment les objets « exotiques » conservés dans les musées sont-ils parvenus jusqu'à nous, et dans quelle mesure ont-ils conservé, voire accru, à travers le temps leur dimension exotique ? Ce livre, et l'exposition qui s'y rattache, proposent une perspective historique pour comprendre l'émergence de ce regard et des gestes qui l'accompagnent. En effet, rien n'est « exotique » en soi : l'exotique est le produit de représentations, de marchandisations, et de traductions qui assignent une place aux choses et aux gens dans un contexte historique, géographique et politique donné. Dans le cadre de ces médiations, la perspective posée est largement influencée par l'identité culturelle, la provenance géographique, le genre, ou encore le statut social du sujet regardant.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="18b8a5f94483546283ecd4b90f2fa03f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64829828,"asset_id":44416924,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64829828/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44416924"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44416924"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44416924; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44416924]").text(description); $(".js-view-count[data-work-id=44416924]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44416924; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44416924']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44416924, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "18b8a5f94483546283ecd4b90f2fa03f" } } $('.js-work-strip[data-work-id=44416924]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44416924,"title":"Une Suisse exotique? 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Looking Outwards in the Age of Enlightenment</span><span>, 2020</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1bcc96214392477456a9db63772e733d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64770801,"asset_id":44371888,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64770801/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44371888"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44371888"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44371888; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44371888]").text(description); $(".js-view-count[data-work-id=44371888]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44371888; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44371888']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44371888, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1bcc96214392477456a9db63772e733d" } } $('.js-work-strip[data-work-id=44371888]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44371888,"title":"Exotic? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44327623"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44327623/Du_th%C3%A9_des_textures_et_des_techniques_Jean_%C3%89tienne_Liotard_et_les_arts_de_lAsie"><img alt="Research paper thumbnail of Du thé, des textures et des techniques : Jean-Étienne Liotard et les arts de l'Asie" class="work-thumbnail" src="https://attachments.academia-assets.com/64716555/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44327623/Du_th%C3%A9_des_textures_et_des_techniques_Jean_%C3%89tienne_Liotard_et_les_arts_de_lAsie">Du thé, des textures et des techniques : Jean-Étienne Liotard et les arts de l'Asie</a></div><div class="wp-workCard_item"><span>Une Suisse exotique? Regarder l'ailleurs au siècle des Lumières, Zurich, Diaphanes</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Un service à thé en porcelaine est posé sur un plateau bordé d'une frise dorée. Six tasses et sou...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Un service à thé en porcelaine est posé sur un plateau bordé d'une frise dorée. Six tasses et soucoupes sont assemblées. De petits personnages tracés en orange, rose et vert se détachent sur la surface de la théière, des assiettes, des bols et des tasses. Une seule est encore remplie de liquide. Quatre sont retournées, pour signifier la fin du service, tandis que la dernière est déposée dans un grand bol. Les petites cuillères sont posées de différentes manières : orientées vers le haut au sommet du plateau, ou au contraire vers le bas dans la partie inférieure. L'image donne à voir les objets sous divers angles, présentant l'intérieur et l'extérieur des pièces. Deux tranches de pain beurré reposent au centre de la composition. Une troisième semble avoir été partiellement man-gée et ses fragments occupent différents espaces du tableau, notamment sur la grande table rouge cuivrée au premier plan. La partie supérieure est une large bande foncée, unie et vide de toute représentation, qui tranche avec les éléments plus clairs de la partie inférieure. Rien dans cette nature morte ne semble entièrement laissé au hasard, et l'on croirait que le peintre a ordonné ce plateau après le départ de ses hôtes, pour montrer tous les aspects de ces objets. Ce tableau, aujourd'hui conservé au Getty Museum de Los Angeles, a été peint dans les années 1780 par le peintre Jean-Étienne Liotard (Genève, 1702-1789).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="07cbfc3cf37cb7f1fcfacb646c3c9f27" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64716555,"asset_id":44327623,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64716555/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44327623"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44327623"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44327623; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44327623]").text(description); $(".js-view-count[data-work-id=44327623]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44327623; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44327623']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44327623, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "07cbfc3cf37cb7f1fcfacb646c3c9f27" } } $('.js-work-strip[data-work-id=44327623]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44327623,"title":"Du thé, des textures et des techniques : Jean-Étienne Liotard et les arts de l'Asie","translated_title":"","metadata":{"abstract":"Un service à thé en porcelaine est posé sur un plateau bordé d'une frise dorée. 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Ce tableau, aujourd'hui conservé au Getty Museum de Los Angeles, a été peint dans les années 1780 par le peintre Jean-Étienne Liotard (Genève, 1702-1789). 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Six tasses et soucoupes sont assemblées. De petits personnages tracés en orange, rose et vert se détachent sur la surface de la théière, des assiettes, des bols et des tasses. Une seule est encore remplie de liquide. Quatre sont retournées, pour signifier la fin du service, tandis que la dernière est déposée dans un grand bol. Les petites cuillères sont posées de différentes manières : orientées vers le haut au sommet du plateau, ou au contraire vers le bas dans la partie inférieure. L'image donne à voir les objets sous divers angles, présentant l'intérieur et l'extérieur des pièces. Deux tranches de pain beurré reposent au centre de la composition. Une troisième semble avoir été partiellement man-gée et ses fragments occupent différents espaces du tableau, notamment sur la grande table rouge cuivrée au premier plan. La partie supérieure est une large bande foncée, unie et vide de toute représentation, qui tranche avec les éléments plus clairs de la partie inférieure. Rien dans cette nature morte ne semble entièrement laissé au hasard, et l'on croirait que le peintre a ordonné ce plateau après le départ de ses hôtes, pour montrer tous les aspects de ces objets. Ce tableau, aujourd'hui conservé au Getty Museum de Los Angeles, a été peint dans les années 1780 par le peintre Jean-Étienne Liotard (Genève, 1702-1789). ","owner":{"id":1134414,"first_name":"Noémie","middle_initials":null,"last_name":"Etienne","page_name":"NoémieEtienne","domain_name":"univie","created_at":"2012-01-18T05:50:32.828-08:00","display_name":"Noémie Etienne","url":"https://univie.academia.edu/No%C3%A9mieEtienne"},"attachments":[{"id":64716555,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/64716555/thumbnails/1.jpg","file_name":"articleLiotardEtienne.pdf","download_url":"https://www.academia.edu/attachments/64716555/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Du_the_des_textures_et_des_techniques_Je.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/64716555/articleLiotardEtienne-libre.pdf?1603116298=\u0026response-content-disposition=attachment%3B+filename%3DDu_the_des_textures_et_des_techniques_Je.pdf\u0026Expires=1737427206\u0026Signature=R-pXSKCHOkflqdA6XfXlhzbXeImoKI7PtWHWT-ry~BJz5Uez4B1MESkI9W3BLK6g~tL7x1hqu1xg~McqGRSAMGTnb6gbKkk~HxAO-ewjTS98fBoea8yzqJX5apcOJgsF-iqjlBY35e3-oW8jdkpg7MYQ2hJkN4rrYrjIofZo8hWpwv2pd6MnyH7csHY7LM~S-FUxY7KD9u2TL~AEAh-9BFbxNM4Dyp4b82I4hFLvtNhhypk~nrCxcdckbxyIxHv72-fuVvsg35IBFdLl~T8NNvPxX4TOJS~itmRSoRnTNHIFR~US9QsnxbS4id5DQfnnP~H7DJASP4b5B-dpv0kvew__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies"},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":2132,"name":"Cultural Heritage","url":"https://www.academia.edu/Documents/in/Cultural_Heritage"},{"id":2473,"name":"Material Culture Studies","url":"https://www.academia.edu/Documents/in/Material_Culture_Studies"},{"id":6027,"name":"Enlightenment","url":"https://www.academia.edu/Documents/in/Enlightenment"},{"id":16226,"name":"Materiality (Anthropology)","url":"https://www.academia.edu/Documents/in/Materiality_Anthropology_"},{"id":51385,"name":"Still Life","url":"https://www.academia.edu/Documents/in/Still_Life"},{"id":271225,"name":"Asian Lacquer","url":"https://www.academia.edu/Documents/in/Asian_Lacquer"},{"id":415797,"name":"Jean-Étienne Liotard","url":"https://www.academia.edu/Documents/in/Jean-Etienne_Liotard"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44237055"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44237055/Tea_Textures_and_Techniques_Jean_%C3%89tienne_Liotard_and_the_Arts_of_Asia_No%C3%A9mie_%C3%89tienne"><img alt="Research paper thumbnail of Tea, Textures, and Techniques: Jean-Étienne Liotard and the Arts of Asia Noémie Étienne" class="work-thumbnail" src="https://attachments.academia-assets.com/64607413/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44237055/Tea_Textures_and_Techniques_Jean_%C3%89tienne_Liotard_and_the_Arts_of_Asia_No%C3%A9mie_%C3%89tienne">Tea, Textures, and Techniques: Jean-Étienne Liotard and the Arts of Asia Noémie Étienne</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In: Noémie Etienne, Claire Brizon, Chonja Lee, Etienne Wismer (ed.), Exotic Switzerland? Looking ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In: Noémie Etienne, Claire Brizon, Chonja Lee, Etienne Wismer (ed.), Exotic Switzerland? Looking Outward in the Age of Enlightenment, Zurich, Diaphanes, 2020.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e197226abbc0645ea53d6ec56318ebdc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64607413,"asset_id":44237055,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64607413/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44237055"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44237055"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44237055; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44237055]").text(description); $(".js-view-count[data-work-id=44237055]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44237055; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44237055']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44237055, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e197226abbc0645ea53d6ec56318ebdc" } } $('.js-work-strip[data-work-id=44237055]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44237055,"title":"Tea, Textures, and Techniques: Jean-Étienne Liotard and the Arts of Asia Noémie Étienne","translated_title":"","metadata":{"abstract":"In: Noémie Etienne, Claire Brizon, Chonja Lee, Etienne Wismer (ed.), Exotic Switzerland? 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Dioramas, Bodies, and Performances in New York" class="work-thumbnail" src="https://attachments.academia-assets.com/63200979/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42946382/Through_the_Looking_Glass_Dioramas_Bodies_and_Performances_in_New_York">Through the Looking Glass. Dioramas, Bodies, and Performances in New York</a></div><div class="wp-workCard_item"><span>Zeitschrift für Medien- und Kulturforschung</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dioramas are museum displays that resemble photographs. Defined by their multi-mediality (uniting...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dioramas are museum displays that resemble photographs. Defined by their multi-mediality (uniting painting, sculpture, lightening but also collected material culture, casting or taxidermy), dioramas are devices belonging to the fields of natural history, anthropology, history, but also to popular culture in fairs and malls since the 19 th century. Often made in order to reproduce a scene in a mimetic way, they are inventing a reality that never existed, as Umberto Eco already argued. 1 Moreover, dioramas are complex three-dimensional installations made of a variety of materials, such as paint, wood, plaster, fur, iron, or paper. Even though dioramas necessarily involve a mixture of media and material, they inevitably become an image from a chosen angle when reproduced in an article such as this one. Thus, when they are photographed, dioramas look like twodimensional pictures. Their multimedia and multidimensional characteristics are masked by their reproduction.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="daad0c93d6b710bc1a3c110cd4ccd114" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63200979,"asset_id":42946382,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63200979/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42946382"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42946382"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42946382; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42946382]").text(description); $(".js-view-count[data-work-id=42946382]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42946382; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42946382']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42946382, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "daad0c93d6b710bc1a3c110cd4ccd114" } } $('.js-work-strip[data-work-id=42946382]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42946382,"title":"Through the Looking Glass. Dioramas, Bodies, and Performances in New York","translated_title":"","metadata":{"volume":"1","page_numbers":"23-40","grobid_abstract":"Dioramas are museum displays that resemble photographs. Defined by their multi-mediality (uniting painting, sculpture, lightening but also collected material culture, casting or taxidermy), dioramas are devices belonging to the fields of natural history, anthropology, history, but also to popular culture in fairs and malls since the 19 th century. Often made in order to reproduce a scene in a mimetic way, they are inventing a reality that never existed, as Umberto Eco already argued. 1 Moreover, dioramas are complex three-dimensional installations made of a variety of materials, such as paint, wood, plaster, fur, iron, or paper. Even though dioramas necessarily involve a mixture of media and material, they inevitably become an image from a chosen angle when reproduced in an article such as this one. 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Les dioramas de Franz Boas et d'Arthur C. Parker à New York, 1900, Paris/Dijon, Les presses du réel, 2020, pp. 1-15." class="work-thumbnail" src="https://attachments.academia-assets.com/62129521/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42005010/Introduction_Les_autres_et_les_anc%C3%AAtres_Les_dioramas_de_Franz_Boas_et_dArthur_C_Parker_%C3%A0_New_York_1900_Paris_Dijon_Les_presses_du_r%C3%A9el_2020_pp_1_15">Introduction, Les autres et les ancêtres. Les dioramas de Franz Boas et d'Arthur C. Parker à New York, 1900, Paris/Dijon, Les presses du réel, 2020, pp. 1-15.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dioramas are devices on the frontier of different disciplines: art, anthropology, and the natural...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dioramas are devices on the frontier of different disciplines: art, anthropology, and the natural sciences, to name a few. Their use developed during the nineteenth century, following reforms aimed at developing the educational dimension of museums. This book examines anthropological dioramas of two North American museums in the early twentieth century: the American Museum of Natural History in New York (whose Life Groups were assembled by the German anthropologist Franz Boas), and the New York State Museum (whose Groups were overseen by the Seneca archaeologist Arthur C. Parker). While dioramas with human figures are now the subject of harsh criticism and are gradually being dismantled, a thorough study of the work of artists and scientists who made them helps shed light on their genesis. Sites of creation and mediation of knowledge, combining painting, sculpture, photography, and material culture, dioramas tell a story that is always political. They create visions of otherness but also of ancestry that blurs space and time within the museum.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6769019c41fa34c84a6173c9bc4a5ada" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62129521,"asset_id":42005010,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62129521/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42005010"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42005010"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42005010; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42005010]").text(description); $(".js-view-count[data-work-id=42005010]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42005010; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42005010']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42005010, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6769019c41fa34c84a6173c9bc4a5ada" } } $('.js-work-strip[data-work-id=42005010]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42005010,"title":"Introduction, Les autres et les ancêtres. 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L'art du diorama (1700-2000), Culture et Musées, 32, 2018, 11-23, with Nadia Radwan." class="work-thumbnail" src="https://attachments.academia-assets.com/58342228/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38295073/Introduction_Lart_du_diorama_1700_2000_Culture_et_Mus%C3%A9es_32_2018_11_23_with_Nadia_Radwan">Introduction. L'art du diorama (1700-2000), Culture et Musées, 32, 2018, 11-23, with Nadia Radwan.</a></div><div class="wp-workCard_item"><span>https://journals.openedition.org/culturemusees/2197</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Twenty years ago, Publics & Musées dedicated an issue to dioramas. This device, which has since b...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Twenty years ago, Publics & Musées dedicated an issue to dioramas. This device, which has since been updated in various forms, particularly in contemporary art, is the subject of a new contribution. This reappraisal problematizes characteristic aspects of the dioramas, such as their narrative power, their hyperrealistic lure, as well as their specific relationship to reality and knowledge. The aim is to refocus the diorama on a study of museum institutions, from production to reception, with an emphasis on their materiality and some of their extreme forms.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f1a08b4d11b6f52678ea0929c222eab6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58342228,"asset_id":38295073,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58342228/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38295073"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38295073"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38295073; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38295073]").text(description); $(".js-view-count[data-work-id=38295073]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38295073; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38295073']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38295073, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f1a08b4d11b6f52678ea0929c222eab6" } } $('.js-work-strip[data-work-id=38295073]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38295073,"title":"Introduction. 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The Trade in Non-European Artefacts in Paris and Versailles" class="work-thumbnail" src="https://attachments.academia-assets.com/57927523/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37916214/Transaction_and_Translation_The_Trade_in_Non_European_Artefacts_in_Paris_and_Versailles">Transaction and Translation. The Trade in Non-European Artefacts in Paris and Versailles</a></div><div class="wp-workCard_item"><span>Bénédicte Savoy, Charlotte Guichard, Christine Howald (eds.), Acquiring Cultures. Histories of World Art on Western Markets, Berlin, De Gruyter, pp. 15-30</span><span>, 2018</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f092305c123fac4b23d0cc3f0b249bed" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57927523,"asset_id":37916214,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57927523/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37916214"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37916214"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37916214; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37916214]").text(description); $(".js-view-count[data-work-id=37916214]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37916214; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37916214']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37916214, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f092305c123fac4b23d0cc3f0b249bed" } } $('.js-work-strip[data-work-id=37916214]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37916214,"title":"Transaction and Translation. 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Materiality and Agency</a></div><div class="wp-workCard_item"><span>in Caroline van Eck et al., The Materiality of Display</span><span>, 2018</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8344f453ea73e480123f3c2c710ec5aa" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57436553,"asset_id":37467915,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57436553/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37467915"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37467915"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37467915; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37467915]").text(description); $(".js-view-count[data-work-id=37467915]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37467915; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37467915']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37467915, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8344f453ea73e480123f3c2c710ec5aa" } } $('.js-work-strip[data-work-id=37467915]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37467915,"title":"When Things Do Talk (in Storage). 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36136792"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36136792/L%C3%BCster_Lack_und_Liotard_Techniken_und_Texturen_zwischen_Asien_und_Europa"><img alt="Research paper thumbnail of Lüster, Lack und Liotard: Techniken und Texturen zwischen Asien und Europa" class="work-thumbnail" src="https://attachments.academia-assets.com/56029527/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36136792/L%C3%BCster_Lack_und_Liotard_Techniken_und_Texturen_zwischen_Asien_und_Europa">Lüster, Lack und Liotard: Techniken und Texturen zwischen Asien und Europa</a></div><div class="wp-workCard_item"><span>"Chinoiserie", Kunst und Architektur in der Schweiz</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A l’aide d’exemples provenant des domaines des arts décoratifs et des beaux-arts, nous montrons q...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A l’aide d’exemples provenant des domaines des arts décoratifs et des beaux-arts, nous montrons que la brillance des surfaces devient l’un des enjeux majeurs de l’économie des chinoiseries. Les artisans et les artistes suisses ont connaissance des porcelaines, des laques et des textiles qui se diffusent partout en Europe. Leur circulation est liée aux ambitions diplomatiques et économiques des pays impliqués (Chine, Japon, Siam, France, Allemagne, Angleterre, Hollande…). En Europe il s’agit dès lors de maitriser ces techniques pour les développer et les commercialiser. De plus, les acteurs cherchent à traduire leur brillance et leur texture dans différents médias : les objets importés de Chine ou du Japon transforment ainsi l’univers sensoriel en Europe, stimulant l’imitation de certaines matières et rendus plastiques, tels le luisant et le nacré. Par exemple, dans la Nature morte du Getty, le peintre genevois Jean-Etienne Liotard se confronte directement aux propriétés matérielles et aux formes des laques asiatiques, introduisant un nouvel horizon visuel et tactile en Europe.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4cfd856f62f41e2d449c0e2d290c1973" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56029527,"asset_id":36136792,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56029527/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36136792"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36136792"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36136792; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36136792]").text(description); $(".js-view-count[data-work-id=36136792]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36136792; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36136792']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 36136792, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4cfd856f62f41e2d449c0e2d290c1973" } } $('.js-work-strip[data-work-id=36136792]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36136792,"title":"Lüster, Lack und Liotard: Techniken und Texturen zwischen Asien und Europa","translated_title":"","metadata":{"volume":"1","abstract":"A l’aide d’exemples provenant des domaines des arts décoratifs et des beaux-arts, nous montrons que la brillance des surfaces devient l’un des enjeux majeurs de l’économie des chinoiseries. 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Par exemple, dans la Nature morte du Getty, le peintre genevois Jean-Etienne Liotard se confronte directement aux propriétés matérielles et aux formes des laques asiatiques, introduisant un nouvel horizon visuel et tactile en Europe.","internal_url":"https://www.academia.edu/36136792/L%C3%BCster_Lack_und_Liotard_Techniken_und_Texturen_zwischen_Asien_und_Europa","translated_internal_url":"","created_at":"2018-03-12T00:12:41.521-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":1134414,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":31178627,"work_id":36136792,"tagging_user_id":1134414,"tagged_user_id":9304485,"co_author_invite_id":null,"email":"c***e@hotmail.com","affiliation":"University of Neuchâtel","display_order":1,"name":"Chonja Lee","title":"Lüster, Lack und Liotard: Techniken und Texturen zwischen Asien und Europa"}],"downloadable_attachments":[{"id":56029527,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/56029527/thumbnails/1.jpg","file_name":"EtienneLeeLiotard.pdf","download_url":"https://www.academia.edu/attachments/56029527/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Luster_Lack_und_Liotard_Techniken_und_Te.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/56029527/EtienneLeeLiotard-libre.pdf?1520839412=\u0026response-content-disposition=attachment%3B+filename%3DLuster_Lack_und_Liotard_Techniken_und_Te.pdf\u0026Expires=1737560579\u0026Signature=EFE1mfg37825D09RzopUHj-Rq-F9zTINDUJu4YcjD1RxFLdaGZ9H8~YPyHVInbLqDNl3-jhtCTxGji812WuVbfQLUcfHeuqxYJib6pFyR9tNTQAtftMSV6q8VnPfuXFZ9jnG1pwiD9-E2HpDVy2dqw-Fgl-NzS2dBhdP65JewpXc5p0bOO~4OsctWLOOhm7jXrlAGg4QPkKKp3VBmF~oGKpqSPmoBjA5ioNNIxSuoh6sFYyjJJ5MkuL19Xc0RkHsVGWe2VJ8SjkUDNI~MoI94CjLHKgfvLLX9EAybxJ~c6ZYfMzzPD5h91t4UafzKR8Uj4ehhVUvRs347ir5vRUeVg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Lüster_Lack_und_Liotard_Techniken_und_Texturen_zwischen_Asien_und_Europa","translated_slug":"","page_count":5,"language":"de","content_type":"Work","summary":"A l’aide d’exemples provenant des domaines des arts décoratifs et des beaux-arts, nous montrons que la brillance des surfaces devient l’un des enjeux majeurs de l’économie des chinoiseries. Les artisans et les artistes suisses ont connaissance des porcelaines, des laques et des textiles qui se diffusent partout en Europe. Leur circulation est liée aux ambitions diplomatiques et économiques des pays impliqués (Chine, Japon, Siam, France, Allemagne, Angleterre, Hollande…). En Europe il s’agit dès lors de maitriser ces techniques pour les développer et les commercialiser. De plus, les acteurs cherchent à traduire leur brillance et leur texture dans différents médias : les objets importés de Chine ou du Japon transforment ainsi l’univers sensoriel en Europe, stimulant l’imitation de certaines matières et rendus plastiques, tels le luisant et le nacré. 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Exhibition Texts. Textes de l'exposition. Lausanne, Palais de Rumine, Sept. 2020-Feb. 2021." class="work-thumbnail" src="https://attachments.academia-assets.com/65572462/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/45023926/EXOTIC_Exhibition_Texts_Textes_de_lexposition_Lausanne_Palais_de_Rumine_Sept_2020_Feb_2021">EXOTIC? Exhibition Texts. Textes de l'exposition. Lausanne, Palais de Rumine, Sept. 2020-Feb. 2021.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://univie.academia.edu/No%C3%A9mieEtienne">Noémie Etienne</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unine.academia.edu/ChonjaLee">Chonja Lee</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://mcah.academia.edu/ClaireBrizon">Claire Brizon</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unibe-ch2.academia.edu/EtienneWismer">Etienne Wismer</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8bddadf97d8cabee30f7edc60e6c88d7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65572462,"asset_id":45023926,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65572462/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="45023926"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="45023926"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 45023926; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=45023926]").text(description); $(".js-view-count[data-work-id=45023926]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 45023926; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='45023926']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 45023926, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8bddadf97d8cabee30f7edc60e6c88d7" } } $('.js-work-strip[data-work-id=45023926]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":45023926,"title":"EXOTIC? 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A curator's note @Journal18" class="work-thumbnail" src="https://attachments.academia-assets.com/65181941/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44704024/Exotic_A_curators_note_at_Journal18">Exotic? A curator's note @Journal18</a></div><div class="wp-workCard_item"><span>https://www.journal18.org/nq/exotic-a-curators-note-by-noemie-etienne/</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The first room of the exhibition Exotic? Switzerland Looking Outward in the Age of Enlightenment,...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The first room of the exhibition Exotic? Switzerland Looking Outward in the Age of Enlightenment, on view until February 2021, gathers a multitude of objects from the collections of the Palais de Rumine in Lausanne. What are these objects? What among them is considered “art,” and what is not? What is old, and what is new? No accompanying information is provided, except in the form of a QR code granting access to a list of the room’s contents and to the series of questions that reverberate throughout the space in the form of a sound installation. The effect of this display is unsettling. It introduces the exhibition curated by a group of scholars at the University of Bern whose research focuses on the global and colonial histories of the Old Swiss Confederacy between 1660 and 1815 (today’s Switzerland, with the addition in 1815 of Geneva, Neuchâtel, and the Wallis). <br /><a href="https://www.journal18.org/nq/exotic-a-curators-note-by-noemie-etienne/" rel="nofollow">https://www.journal18.org/nq/exotic-a-curators-note-by-noemie-etienne/</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2fcddc8650479e5700c2498656184893" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65181941,"asset_id":44704024,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65181941/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44704024"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44704024"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44704024; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44704024]").text(description); $(".js-view-count[data-work-id=44704024]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44704024; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44704024']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44704024, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2fcddc8650479e5700c2498656184893" } } $('.js-work-strip[data-work-id=44704024]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44704024,"title":"Exotic? A curator's note @Journal18","translated_title":"","metadata":{"abstract":"The first room of the exhibition Exotic? Switzerland Looking Outward in the Age of Enlightenment, on view until February 2021, gathers a multitude of objects from the collections of the Palais de Rumine in Lausanne. What are these objects? What among them is considered “art,” and what is not? What is old, and what is new? No accompanying information is provided, except in the form of a QR code granting access to a list of the room’s contents and to the series of questions that reverberate throughout the space in the form of a sound installation. The effect of this display is unsettling. It introduces the exhibition curated by a group of scholars at the University of Bern whose research focuses on the global and colonial histories of the Old Swiss Confederacy between 1660 and 1815 (today’s Switzerland, with the addition in 1815 of Geneva, Neuchâtel, and the Wallis).\r\nhttps://www.journal18.org/nq/exotic-a-curators-note-by-noemie-etienne/","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"https://www.journal18.org/nq/exotic-a-curators-note-by-noemie-etienne/"},"translated_abstract":"The first room of the exhibition Exotic? Switzerland Looking Outward in the Age of Enlightenment, on view until February 2021, gathers a multitude of objects from the collections of the Palais de Rumine in Lausanne. What are these objects? What among them is considered “art,” and what is not? What is old, and what is new? 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It introduces the exhibition curated by a group of scholars at the University of Bern whose research focuses on the global and colonial histories of the Old Swiss Confederacy between 1660 and 1815 (today’s Switzerland, with the addition in 1815 of Geneva, Neuchâtel, and the Wallis).\r\nhttps://www.journal18.org/nq/exotic-a-curators-note-by-noemie-etienne/","owner":{"id":1134414,"first_name":"Noémie","middle_initials":null,"last_name":"Etienne","page_name":"NoémieEtienne","domain_name":"univie","created_at":"2012-01-18T05:50:32.828-08:00","display_name":"Noémie Etienne","url":"https://univie.academia.edu/No%C3%A9mieEtienne"},"attachments":[{"id":65181941,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65181941/thumbnails/1.jpg","file_name":"journal18.org_Exotic_A_Curators_Note_by_Noemie_Etienne.pdf","download_url":"https://www.academia.edu/attachments/65181941/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Exotic_A_curators_note_at_Journal18.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65181941/journal18.org_Exotic_A_Curators_Note_by_Noemie_Etienne-libre.pdf?1607983045=\u0026response-content-disposition=attachment%3B+filename%3DExotic_A_curators_note_at_Journal18.pdf\u0026Expires=1737560579\u0026Signature=G54gwys0EV36CRDE~lC58ilYv2rY~dmcozVS0jEgU7vhXVSua0fxgDEZuz11LAOPJxsnyoHJKeYHOVwErrCh~vIGdkJb7SiIXqpMO7YmGGfiQyxwbUgos5g7tSuhCHDNLSkWUwx05TmybOurEiJNiXvKxmVRLaf7uhpdcXkltriEIy1Y3L5tsYQOqo3wLsIdIQc~cglUtCD4Me88aSl8d3dcCr-a6rJNcnhKHcBZXXMs-wqTbccm-mSIqnP8UiaCGQKjvDZrShggvtoacanjhuUW7MJ0xf1ZNxNWTXTxAiHU6~Y3LPQPMwBu4s68cXKJr0FxGwRbCn2BP2flYOuIFQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies"},{"id":152580,"name":"Switzerland","url":"https://www.academia.edu/Documents/in/Switzerland"}],"urls":[{"id":9164300,"url":"https://www.journal18.org/nq/exotic-a-curators-note-by-noemie-etienne/"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="11926123"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11926123/Bodies_Spaces_and_Artifacts_Montage_and_Reparation_as_Forms_of_History_Kader_Attia_ex_cat_Mus%C3%A9e_cantonal_des_Beaux_Arts_de_Lausanne_JRP_Ringier_2015_pp_73_81"><img alt="Research paper thumbnail of Bodies, Spaces, and Artifacts. Montage and Reparation as Forms of History, Kader Attia, ex. cat. Musée cantonal des Beaux-Arts de Lausanne, JRP Ringier, 2015, pp. 73-81." class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11926123/Bodies_Spaces_and_Artifacts_Montage_and_Reparation_as_Forms_of_History_Kader_Attia_ex_cat_Mus%C3%A9e_cantonal_des_Beaux_Arts_de_Lausanne_JRP_Ringier_2015_pp_73_81">Bodies, Spaces, and Artifacts. Montage and Reparation as Forms of History, Kader Attia, ex. cat. Musée cantonal des Beaux-Arts de Lausanne, JRP Ringier, 2015, pp. 73-81.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">She said: What is history? And he said: History is an angel being blown backwards into the future...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">She said: What is history? And he said: History is an angel being blown backwards into the future He said: History is a pile of debris And the angel wants to go back and fix things To repair the things that have been broken But there is a storm blowing from Paradise And the storm keeps blowing the angel backwards into the future -Laurie Anderson, For Walter Benjamin, 2001 1 Kader Attia collects things. His work features fingernails, actions, traces. Houses, towns, and landscapes. Maps, masks, and books. It is as if he has dismantled the stands of a Universal Exhibition to put them back together in his own way. Or as if he slipped over to the exit of a colonial fair from the 1900s to gather up its fragments, its junk, and then mount them in photographs, sculptures, spaces. His frequent use of slides projected side by side in a technique introduced by the Swiss art historian Heinrich Wölfflin in the late 19th century is also the art of creating links: Open Your Eyes (2010), for example, juxtaposes repaired African statues with photographs of soldiers who suffered facial disfigurement in the First World War. Both humans and sculptures have been transformed, the latter often with the addition of exogenous material such as a nail replacing an eye, or a piece of plastic. But what is the difference between objects and subjects in the slide show? The soldiers with the scarred faces were mere cannon fodder who mattered little for the men who sent them to the front. On the other hand, the sculptures, most of which seem rare and precious, were not ethnographic objects for their creators, but rather regalia, ancestors, tools, and so on. They were active and powerful. They remain subjects because they have been repaired and their transformation creates an effect: as new hybrid artifacts, they have a place in a world that they put back into play.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b8b8b2100712a3706c952cdb33e0b9a1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37291897,"asset_id":11926123,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37291897/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11926123"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11926123"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11926123; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11926123]").text(description); $(".js-view-count[data-work-id=11926123]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11926123; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11926123']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11926123, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b8b8b2100712a3706c952cdb33e0b9a1" } } $('.js-work-strip[data-work-id=11926123]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11926123,"title":"Bodies, Spaces, and Artifacts. Montage and Reparation as Forms of History, Kader Attia, ex. cat. Musée cantonal des Beaux-Arts de Lausanne, JRP Ringier, 2015, pp. 73-81.","translated_title":"","metadata":{"grobid_abstract":"She said: What is history? And he said: History is an angel being blown backwards into the future He said: History is a pile of debris And the angel wants to go back and fix things To repair the things that have been broken But there is a storm blowing from Paradise And the storm keeps blowing the angel backwards into the future -Laurie Anderson, For Walter Benjamin, 2001 1 Kader Attia collects things. His work features fingernails, actions, traces. Houses, towns, and landscapes. Maps, masks, and books. It is as if he has dismantled the stands of a Universal Exhibition to put them back together in his own way. Or as if he slipped over to the exit of a colonial fair from the 1900s to gather up its fragments, its junk, and then mount them in photographs, sculptures, spaces. His frequent use of slides projected side by side in a technique introduced by the Swiss art historian Heinrich Wölfflin in the late 19th century is also the art of creating links: Open Your Eyes (2010), for example, juxtaposes repaired African statues with photographs of soldiers who suffered facial disfigurement in the First World War. Both humans and sculptures have been transformed, the latter often with the addition of exogenous material such as a nail replacing an eye, or a piece of plastic. But what is the difference between objects and subjects in the slide show? The soldiers with the scarred faces were mere cannon fodder who mattered little for the men who sent them to the front. On the other hand, the sculptures, most of which seem rare and precious, were not ethnographic objects for their creators, but rather regalia, ancestors, tools, and so on. They were active and powerful. 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And he said: History is an angel being blown backwards into the future He said: History is a pile of debris And the angel wants to go back and fix things To repair the things that have been broken But there is a storm blowing from Paradise And the storm keeps blowing the angel backwards into the future -Laurie Anderson, For Walter Benjamin, 2001 1 Kader Attia collects things. His work features fingernails, actions, traces. Houses, towns, and landscapes. Maps, masks, and books. It is as if he has dismantled the stands of a Universal Exhibition to put them back together in his own way. Or as if he slipped over to the exit of a colonial fair from the 1900s to gather up its fragments, its junk, and then mount them in photographs, sculptures, spaces. His frequent use of slides projected side by side in a technique introduced by the Swiss art historian Heinrich Wölfflin in the late 19th century is also the art of creating links: Open Your Eyes (2010), for example, juxtaposes repaired African statues with photographs of soldiers who suffered facial disfigurement in the First World War. Both humans and sculptures have been transformed, the latter often with the addition of exogenous material such as a nail replacing an eye, or a piece of plastic. But what is the difference between objects and subjects in the slide show? The soldiers with the scarred faces were mere cannon fodder who mattered little for the men who sent them to the front. On the other hand, the sculptures, most of which seem rare and precious, were not ethnographic objects for their creators, but rather regalia, ancestors, tools, and so on. They were active and powerful. 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Changing Practice of Art History and Conservation, 1850 -1950 (Amsterdam/Utrecht, May 2019)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Organisation: Sven Dupré, Jenny Boulboullé, Jill Briggeman, Esther van Duijn and Mariana Pinto In...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Organisation: Sven Dupré, Jenny Boulboullé, Jill Briggeman, Esther van Duijn and Mariana Pinto<br />Institutions: Utrecht University, University of Amsterdam, NICAS and Rijksmuseum<br />Date: 8, 9 and 10 May 2019<br />Locations: Academiegebouw, Utrecht and Rijksmuseum Ateliergebouw, Amsterdam</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fb38dad7a768ad2a4c7e724f35157198" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58721581,"asset_id":38643466,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58721581/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38643466"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38643466"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38643466; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38643466]").text(description); $(".js-view-count[data-work-id=38643466]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38643466; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38643466']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38643466, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fb38dad7a768ad2a4c7e724f35157198" } } $('.js-work-strip[data-work-id=38643466]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38643466,"title":"The Making of Art Expertise. 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Ihre Geschichte zu erforschen, ist Herausforderung und Chance zugleich.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8a956186a581807d82b112a6df78a5f0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58376371,"asset_id":38325853,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58376371/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38325853"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38325853"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38325853; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38325853]").text(description); $(".js-view-count[data-work-id=38325853]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38325853; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38325853']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38325853, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8a956186a581807d82b112a6df78a5f0" } } $('.js-work-strip[data-work-id=38325853]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38325853,"title":"Die Biographie der Dinge, NZZ Geschichte, Nr. 20, Feb. 2019, pp. 51-52.","translated_title":"","metadata":{"abstract":"Auch in Schweizer Museen unde Privatsammlungen befinden sich zahlreiche aussereuropäische Werke. 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Deadline: Sept....</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Congress of the International Committee for the History of Arts <br />Call for Papers. Deadline: Sept. 15, 2023. Conference: June, 2024. Heritage conservation is a political matter that needs to be understood historically and theoretically based on a long-term and broad geographical scope. What were the ways of caring before conservation became a science in the 20th century? What were the guidance and criteria to follow? 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Today, ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Museum conservation in the West has long focused on the physical preservation of objects. Today, the heritage regime is being questioned and challenged in many ways. If collecting, storing, and exhibiting have participated as epistemological tools in the classification of the world, can artifacts be reconnected to living practices? What changes are needed for concerned communities to take agency in storage? How can we rethink cultural transmission and reconceive the role of collections without reconducting the cultural hegemonies inscribed in their history?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5de52e7482c65f7898b5b5d64810eabb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":98176769,"asset_id":96216954,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/98176769/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="96216954"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="96216954"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 96216954; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=96216954]").text(description); $(".js-view-count[data-work-id=96216954]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 96216954; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='96216954']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 96216954, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5de52e7482c65f7898b5b5d64810eabb" } } $('.js-work-strip[data-work-id=96216954]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":96216954,"title":"Call for papers - Contested Conservation - Special Issue Museums \u0026 Social Issues","translated_title":"","metadata":{"doi":"10.1080/09502380601164353.","abstract":"Museum conservation in the West has long focused on the physical preservation of objects. 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Séminaire organisé par Noémie Etienne et Manuel Charpy à l'Institut d'histoire de l'art, Paris, 2019-2020." class="work-thumbnail" src="https://attachments.academia-assets.com/60611939/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40364997/Usages_historiens_des_objets_S%C3%A9minaire_organis%C3%A9_par_No%C3%A9mie_Etienne_et_Manuel_Charpy_%C3%A0_lInstitut_dhistoire_de_lart_Paris_2019_2020">Usages (historiens) des objets. Séminaire organisé par Noémie Etienne et Manuel Charpy à l'Institut d'histoire de l'art, Paris, 2019-2020.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Ce cycle de conférences entend explorer l’usage des objets en histoire et en histoire de l’art, q...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Ce cycle de conférences entend explorer l’usage des objets en histoire et en histoire de l’art, que ce soit comme sujets d’études ou témoins. Sans hiérarchie préalable de qualité ou de nature, il s’agit d’interroger les statuts et les usages des objets dans le temps. Ainsi, nous questionnons la capacité des sciences historiques à mener une histoire comparée et internationale qui adresse la singularité des objets tout au long de leur existence, en saisissant aussi leur transformation (remploi, traduction, restauration, conservation, exposition, etc.). En nous appuyant sur des études de cas, que ce soit en histoire, histoire de l’art, sociologie, anthropologie, archéologie…, nous embrassons des objets extraordinaires (objets miraculeux et magiques, œuvres d’art, objets anciens) comme des objets communs (objets du quotidien, utiles, populaires). Il conviendra d’interroger les catégories qui permettent de saisir et penser les choses – marchandises ou œuvres, objets anciens, d’occasion ou neufs, authentiques ou faux, abandonnés ou transmis, protecteurs ou médicinaux. Au final, ce séminaire propose de réfléchir aux manières de mobiliser, de décrire et d’écrire les objets dans les sciences humaines et sociales. Le séminaire est ouvert à toute personne intéressée et sans inscription.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2acda6644251e841ab2813a3f9c62bfc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60611939,"asset_id":40364997,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60611939/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40364997"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40364997"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40364997; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40364997]").text(description); $(".js-view-count[data-work-id=40364997]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40364997; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40364997']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 40364997, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2acda6644251e841ab2813a3f9c62bfc" } } $('.js-work-strip[data-work-id=40364997]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40364997,"title":"Usages (historiens) des objets. 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Sans hiérarchie préalable de qualité ou de nature, il s’agit d’interroger les statuts et les usages des objets dans le temps. Ainsi, nous questionnons la capacité des sciences historiques à mener une histoire comparée et internationale qui adresse la singularité des objets tout au long de leur existence, en saisissant aussi leur transformation (remploi, traduction, restauration, conservation, exposition, etc.). En nous appuyant sur des études de cas, que ce soit en histoire, histoire de l’art, sociologie, anthropologie, archéologie…, nous embrassons des objets extraordinaires (objets miraculeux et magiques, œuvres d’art, objets anciens) comme des objets communs (objets du quotidien, utiles, populaires). Il conviendra d’interroger les catégories qui permettent de saisir et penser les choses – marchandises ou œuvres, objets anciens, d’occasion ou neufs, authentiques ou faux, abandonnés ou transmis, protecteurs ou médicinaux. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="35669931"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35669931/Circulating_Crafts_Art_Agency_and_the_Making_of_Identities_1600_2000_"><img alt="Research paper thumbnail of Circulating Crafts: Art, Agency, and the Making of Identities (1600-2000)." class="work-thumbnail" src="https://attachments.academia-assets.com/55540722/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35669931/Circulating_Crafts_Art_Agency_and_the_Making_of_Identities_1600_2000_">Circulating Crafts: Art, Agency, and the Making of Identities (1600-2000).</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://univie.academia.edu/No%C3%A9mieEtienne">Noémie Etienne</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://univ-paris1.academia.edu/Ya%C3%ABlleBiro">Yaëlle Biro</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Circulating Crafts: Art, Agency, and the Making of Identities (1600-2000) January 24th 2018: W...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Circulating Crafts: Art, Agency, and the Making of Identities (1600-2000) <br /> <br />January 24th 2018: Workshop at La Colonie, Paris <br />February 21st 2018 : CAA 2-parts Session in Los Angeles <br /> <br />Organized by Yaëlle Biro, Metropolitan Museum of Art; and Noémie Étienne, Bern Universität (Visiting Professor at Université Paris 1 Panthéon-Sorbonne). <br />  <br /> <br />Circulation and imitation of cultural products are key factors in shaping the material world – as well as identities. Many objects or techniques that came to be seen as local, authentic, and typical are in fact entangled in complex transnational narratives tied to a history of imperialism, and the commercial phenomenon of supply and demand. In the 17th and 18th centuries, artists and craftspeople in Europe appropriated foreign techniques such as porcelain, textiles, or lacquers that eventually shaped local European identities. During the 19th century, Western consumers looked for genuine goods produced outside of industry, and the demand of Bourgeois tourism created a new market of authentic souvenirs and forgeries alike. Furthermore, the 20th century saw the (re)-emergence of local "Schools" of art and crafts as responses to political changes, anthropological research, and/or tourist demand. This multi-parts conference will explore how technical knowledge, immaterial desires, and political agendas impacted the production and consumption of visual and material culture in different times and places. A new scrutiny of this back and forth between demanders and suppliers will allow us to map anew a multidirectional market for cultural goods in which the source countries could be positioned at the center.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4c23f73a292df99bbaeabab4a7222a59" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55540722,"asset_id":35669931,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55540722/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35669931"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35669931"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35669931; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35669931]").text(description); $(".js-view-count[data-work-id=35669931]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35669931; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35669931']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 35669931, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4c23f73a292df99bbaeabab4a7222a59" } } $('.js-work-strip[data-work-id=35669931]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35669931,"title":"Circulating Crafts: Art, Agency, and the Making of Identities (1600-2000).","translated_title":"","metadata":{"abstract":"Circulating Crafts: Art, Agency, and the Making of Identities (1600-2000)\r\n\r\nJanuary 24th 2018: Workshop at La Colonie, Paris\r\nFebruary 21st 2018 : CAA 2-parts Session in Los Angeles\r\n\r\nOrganized by Yaëlle Biro, Metropolitan Museum of Art; and Noémie Étienne, Bern Universität (Visiting Professor at Université Paris 1 Panthéon-Sorbonne).\r\n \r\n\r\nCirculation and imitation of cultural products are key factors in shaping the material world – as well as identities. 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Many objects or techniques that came to be seen as local, authentic and typical are in fact entangled in complex transnational narratives tied to a history of appropriation, imperialism, and the commercial phenomenon of supply and demand.  <br />In the 17th and 18th centuries, artists and craftspeople in Europe appropriated foreign techniques such as porcelain, textiles, or lacquers that eventually shaped local European identities. During the 19th century, Western consumers looked for genuine goods produced outside of industry, and the demand of Bourgeois tourism created a new market of authentic souvenirs and forgeries alike. Furthermore, the 20th century saw the (re)-emergence of local "Schools" of art and crafts as responses to political changes, anthropological research, and/or tourist demand. This multi-part conference will explore how technical knowledge, immaterial desires, and political agendas impacted the production and consumption of visual and material culture in different times and places. A new scrutiny of this back and forth between demanders and suppliers will allow us to map anew a multidirectional market for cultural goods in which the source countries could be positioned at the center.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9441ff5ae61e44e6fc7e82307f5e4d07" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54759882,"asset_id":34898994,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54759882/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34898994"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34898994"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34898994; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34898994]").text(description); $(".js-view-count[data-work-id=34898994]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 34898994; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='34898994']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 34898994, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9441ff5ae61e44e6fc7e82307f5e4d07" } } $('.js-work-strip[data-work-id=34898994]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":34898994,"title":"Conference Program: Circulating Crafts: Art, Agency, and the Making of Identities (1600-2000)","translated_title":"","metadata":{"abstract":"Circulation and imitation of cultural products are key factors in shaping the material world – as well as identities. 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Many objects or techniques that came to be seen as local, authentic and typical are in fact entangled in complex transnational narratives tied to a history of appropriation, imperialism, and the commercial phenomenon of supply and demand. \nIn the 17th and 18th centuries, artists and craftspeople in Europe appropriated foreign techniques such as porcelain, textiles, or lacquers that eventually shaped local European identities. During the 19th century, Western consumers looked for genuine goods produced outside of industry, and the demand of Bourgeois tourism created a new market of authentic souvenirs and forgeries alike. Furthermore, the 20th century saw the (re)-emergence of local \"Schools\" of art and crafts as responses to political changes, anthropological research, and/or tourist demand. 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A new scrutiny of this back and forth between demanders and suppliers will allow us to map anew a multidirectional market for cultural goods in which the source countries could be positioned at the center.","owner":{"id":12586,"first_name":"Yaëlle","middle_initials":null,"last_name":"Biro","page_name":"YaëlleBiro","domain_name":"univ-paris1","created_at":"2008-10-29T02:38:37.900-07:00","display_name":"Yaëlle Biro","url":"https://univ-paris1.academia.edu/Ya%C3%ABlleBiro"},"attachments":[{"id":54759882,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/54759882/thumbnails/1.jpg","file_name":"AFFICHE_CIRCULATING_CRAFTS.pdf","download_url":"https://www.academia.edu/attachments/54759882/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Conference_Program_Circulating_Crafts_Ar.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/54759882/AFFICHE_CIRCULATING_CRAFTS-libre.pdf?1508425606=\u0026response-content-disposition=attachment%3B+filename%3DConference_Program_Circulating_Crafts_Ar.pdf\u0026Expires=1737560580\u0026Signature=EmAt7BEKG2hlEnl0sijqioLw9m5CojKLG1fw5lTortzAzjqC40V96tQKDK4QoYmtD2~~TjLgsPX2ICDjK7YPJC8sbT2Gxw~Zsjdx-rVjhaREKF5dNp6cwlqj6orHpsfw3iVpZR~~4gL~VTtJVB1DWRld12Rto8oQfzyOp-GHGT1Lcw-P47tNNYqI5WttErQpj30RYyEgIxX2uTVJ6Lmel9ESj-HjsSbnGCKdnJKIn7lqKaNuPESyhWiSsRN43Yp5jwyt4fRHedIY7H0YauhiSdT6usdZzZGswEBWsOxE3SQJQD7u470PcpW-sJj6vwAtHiEMku8prd5cvHPdOckIRw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="32614763"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/32614763/CFP_Lart_du_diorama_1700_2000"><img alt="Research paper thumbnail of CFP - L'art du diorama, 1700-2000" class="work-thumbnail" src="https://attachments.academia-assets.com/52787619/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/32614763/CFP_Lart_du_diorama_1700_2000">CFP - L'art du diorama, 1700-2000</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Vingt ans après le numéro consacré aux dioramas par la revue Public & Musées sous la direction de...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Vingt ans après le numéro consacré aux dioramas par la revue Public & Musées sous la direction de Bernard Schiele (1996) qui questionnait le statut du diorama en muséologie, il importe de réinterroger ces installations. Ce numéro propose de remettre le diorama au centre d’une étude des institutions muséales, en insistant d’une part, sur la matérialité de ces dispositifs (Bennett, Joyce, 2010), et, d’autre part, sur l’identité de ceux qui les fabriquent. Il examinera également les questions liées à l’agentivité des dioramas et à leur réception par les publics. Enfin, l’authenticité des espaces ainsi créés sera au cœur des interrogations. Cette question est d’autant plus urgente que de nombreux musées discutent aujourd’hui de la conservation de ces dispositifs qui appartiennent à l’histoire des musées, mais aussi à son futur.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6cd5525d7e3ef7e8dc830324a62b9505" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52787619,"asset_id":32614763,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52787619/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="32614763"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="32614763"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 32614763; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=32614763]").text(description); $(".js-view-count[data-work-id=32614763]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 32614763; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='32614763']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 32614763, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6cd5525d7e3ef7e8dc830324a62b9505" } } $('.js-work-strip[data-work-id=32614763]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":32614763,"title":"CFP - L'art du diorama, 1700-2000","translated_title":"","metadata":{"abstract":"Vingt ans après le numéro consacré aux dioramas par la revue Public \u0026 Musées sous la direction de Bernard Schiele (1996) qui questionnait le statut du diorama en muséologie, il importe de réinterroger ces installations. Ce numéro propose de remettre le diorama au centre d’une étude des institutions muséales, en insistant d’une part, sur la matérialité de ces dispositifs (Bennett, Joyce, 2010), et, d’autre part, sur l’identité de ceux qui les fabriquent. Il examinera également les questions liées à l’agentivité des dioramas et à leur réception par les publics. Enfin, l’authenticité des espaces ainsi créés sera au cœur des interrogations. Cette question est d’autant plus urgente que de nombreux musées discutent aujourd’hui de la conservation de ces dispositifs qui appartiennent à l’histoire des musées, mais aussi à son futur.\n"},"translated_abstract":"Vingt ans après le numéro consacré aux dioramas par la revue Public \u0026 Musées sous la direction de Bernard Schiele (1996) qui questionnait le statut du diorama en muséologie, il importe de réinterroger ces installations. Ce numéro propose de remettre le diorama au centre d’une étude des institutions muséales, en insistant d’une part, sur la matérialité de ces dispositifs (Bennett, Joyce, 2010), et, d’autre part, sur l’identité de ceux qui les fabriquent. Il examinera également les questions liées à l’agentivité des dioramas et à leur réception par les publics. Enfin, l’authenticité des espaces ainsi créés sera au cœur des interrogations. Cette question est d’autant plus urgente que de nombreux musées discutent aujourd’hui de la conservation de ces dispositifs qui appartiennent à l’histoire des musées, mais aussi à son futur.\n","internal_url":"https://www.academia.edu/32614763/CFP_Lart_du_diorama_1700_2000","translated_internal_url":"","created_at":"2017-04-24T02:04:39.232-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":1134414,"coauthors_can_edit":true,"document_type":"draft","co_author_tags":[{"id":28627511,"work_id":32614763,"tagging_user_id":1134414,"tagged_user_id":14530433,"co_author_invite_id":null,"email":"n***n@gmail.com","affiliation":"HEAD-Geneva (Geneva University of Art and Design)","display_order":1,"name":"Nadia Radwan","title":"CFP - L'art du diorama, 1700-2000"},{"id":32230194,"work_id":32614763,"tagging_user_id":14530433,"tagged_user_id":null,"co_author_invite_id":5399808,"email":"m***x@wanadoo.fr","display_order":4194304,"name":"Marie-Christine Bordeaux","title":"CFP - L'art du diorama, 1700-2000"}],"downloadable_attachments":[{"id":52787619,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/52787619/thumbnails/1.jpg","file_name":"AAP_Dioramas.pdf","download_url":"https://www.academia.edu/attachments/52787619/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"CFP_Lart_du_diorama_1700_2000.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/52787619/AAP_Dioramas-libre.pdf?1493024738=\u0026response-content-disposition=attachment%3B+filename%3DCFP_Lart_du_diorama_1700_2000.pdf\u0026Expires=1737560580\u0026Signature=eXoxeHe0yhQQAWENWCjDCcAFzjlOZJje3LQ2j5sPo~QUKhlh6NYX3dFuuO~SvR9fG2mJxMwWLfFeoYfrGjshanBN9-1Z07CodfrFJ4zVn6LK-1W8Op3zjzphljNi6-X6PpnjBVDlTnmfrmomG1wR3azONX2IKXqZFafroBKgE51a1AlQpkYgcBbTxPvOce21i1hDh0eTwIG2s-6E~zk9SoMk-e-E1kxz25ntF9TqRIGbpb0d1ZS48V62u2KSYp2ZrHgD84Ae8hIFF8XN7oHXbQ5GVtPIYEI0P90Qk2IKqTdetgUzsiFVAdyKZ8IbmoC8YnoETlr62kMy1ejE7V~r~g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"CFP_Lart_du_diorama_1700_2000","translated_slug":"","page_count":4,"language":"fr","content_type":"Work","summary":"Vingt ans après le numéro consacré aux dioramas par la revue Public \u0026 Musées sous la direction de Bernard Schiele (1996) qui questionnait le statut du diorama en muséologie, il importe de réinterroger ces installations. 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The Materiality of Dioramas. Conference Program, Bern University, December 1st and 2nd 2016." class="work-thumbnail" src="https://attachments.academia-assets.com/48794387/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/28444957/Seeing_Through_The_Materiality_of_Dioramas_Conference_Program_Bern_University_December_1st_and_2nd_2016">Seeing Through? The Materiality of Dioramas. Conference Program, Bern University, December 1st and 2nd 2016.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dioramas are at the crossroads of artistic, scientific and cultural practices. They bring togethe...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dioramas are at the crossroads of artistic, scientific and cultural practices. They bring together painters, sculptors, scientists, and collectors, thus providing an opportunity to reflect on the polyvalence of these actors and the definition of their expertise. In 1822, the painter and scientist Louis Daguerre coined the term " diorama " when describing his theater, the word diorama literally meaning " seeing through. " However, dioramas are not merely images or displays: they are also physical objects made of multiple materials and composite and hybrid things, created through cultural interaction and physical encounter. Multiple hands as well as various visions are involved in the process of their creation. Dio-ramas therefore allow for the study of contact zones and material exchanges between private and public spheres, as well as transcultural interactions in a global context.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="369c82465796103fc3fac9d1fa6cfd9d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":48794387,"asset_id":28444957,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/48794387/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="28444957"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="28444957"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 28444957; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=28444957]").text(description); $(".js-view-count[data-work-id=28444957]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 28444957; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='28444957']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 28444957, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "369c82465796103fc3fac9d1fa6cfd9d" } } $('.js-work-strip[data-work-id=28444957]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":28444957,"title":"Seeing Through? 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The Materiality of Dioramas (1560-2010)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/22573009/CFP_Seeing_Through_The_Materiality_of_Dioramas_1560_2010_">CFP - Seeing Through? The Materiality of Dioramas (1560-2010)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dioramas are at the crossroads of artistic and scientific practices. They bring together painters...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dioramas are at the crossroads of artistic and scientific practices. They bring together painters, sculptors, scientists, and collectors, thus providing an opportunity to reflect on the polyvalence of these actors and the definition of their expertise. In 1822, the painter and scientist Louis Daguerre coined the term "diorama" when describing his theater. The word diorama means literally "seeing through." In accordance with this etymology, dioramas embody a sense of transparency and life--likeness. In addition to providing theatrical and visual experiences, dioramas are multidimensional installations that incorporate paintings, objects, stuffed animals or mannequins. Habitat groups mixing taxidermy and painted backgrounds were designed for natural history museums, while anthropological dioramas were disseminated all over Europe during the second half of the nineteenth century. They were usually life--sized and site specific but they could also be reduced to maquettes. To date, these installations have been studied by scholars from various disciplines, mainly as side topics. Media historians have considered them primarily as proto-cinematic, whereas within the fields of anthropology, museum studies and postcolonial studies, they are generally analyzed as displays that reflect political taxonomies and stereotyped representations. However, dioramas are not merely images or displays: they are also physical objects made of multiple materials, such as plaster, wood, paper, paint, glass, fur, wax, and metal. The discipline of art history thus provides us with the opportunity to approach the materiality of these installations. Indeed, dioramas are composite and hybrid things, created through cultural interaction and physical encounter. Multiple hands as well as various visions are involved in the process of their creation - and later on, during their conservation. Dioramas therefore allow for the study of contact zones and material exchanges between private and public spheres, as well as between Western and non--Western contexts. Finally, dioramas as objects of study within the field of art history enable us to address values such as authenticity and realism in various contexts.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9da6f92c8e7d9f2b886fe938b2502b0a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":43182446,"asset_id":22573009,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/43182446/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="22573009"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="22573009"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 22573009; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=22573009]").text(description); $(".js-view-count[data-work-id=22573009]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 22573009; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='22573009']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 22573009, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9da6f92c8e7d9f2b886fe938b2502b0a" } } $('.js-work-strip[data-work-id=22573009]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":22573009,"title":"CFP - Seeing Through? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="376023" id="reviews"><div class="js-work-strip profile--work_container" data-work-id="115427138"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/115427138/The_Renaissance_Restored_Paintings_Conservation_and_the_Birth_of_Modern_Art_History_in_Nineteenth_Century_Europe_by_Matthew_Hayes"><img alt="Research paper thumbnail of The Renaissance Restored: Paintings Conservation and the Birth of Modern Art History in Nineteenth-Century Europe, by Matthew Hayes" class="work-thumbnail" src="https://attachments.academia-assets.com/111836845/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/115427138/The_Renaissance_Restored_Paintings_Conservation_and_the_Birth_of_Modern_Art_History_in_Nineteenth_Century_Europe_by_Matthew_Hayes">The Renaissance Restored: Paintings Conservation and the Birth of Modern Art History in Nineteenth-Century Europe, by Matthew Hayes</a></div><div class="wp-workCard_item"><span>Journal of the American Institute for Conservation</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Works of art change constantly. They are transformed in contact with the air, water, humans, and ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Works of art change constantly. They are transformed in contact with the air, water, humans, and animals. Their materials grow old, yellow, and develop cracks. Canvases stretch and wood panels shrink, dry out, buckle and warp. Along with their existence in time, artworks also move in space. Paintings are shifted around, taken down, and put back up. They are removed from places of worship or private homes and transported elsewhere, notably to museums. These movements are often linked with a change of owners. They may also be the result of theft, war, conquest, or seizure of property. These circulations occur for a large number of objects, notably collections that were assembled by drawing on artifacts originally found in Asia, Africa, and Oceania. The question of who has the legitimacy to own and conserve these collections is not settled and continues to drive debates. This also concerns European artworks, including the Parthenon marbles and Italian masterpieces seized by Napoleonic troops at the beginning of the 19th century.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b629ee5cdc0cd32f69136a6dc3504baa" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":111836845,"asset_id":115427138,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/111836845/download_file?st=MTczNzU1NzQ5NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="115427138"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="115427138"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 115427138; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=115427138]").text(description); $(".js-view-count[data-work-id=115427138]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 115427138; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='115427138']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 115427138, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b629ee5cdc0cd32f69136a6dc3504baa" } } $('.js-work-strip[data-work-id=115427138]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":115427138,"title":"The Renaissance Restored: Paintings Conservation and the Birth of Modern Art History in Nineteenth-Century Europe, by Matthew Hayes","translated_title":"","metadata":{"doi":"10.1080/01971360.2024.2314897","abstract":"Works of art change constantly. 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