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What does it mean to look? How does looking relate to damage? These are the fundamental questions addressed in Overlooking Damage. From the Roman triumph to the iconoclasm of ISIS and the Taliban to the aerial views of looted landscapes and destroyed temples visible on Google, the relationship between beauty and violence is far more intimate than we sometimes acknowledge. Jonah Siegel makes the daring argument that a thoughtful reaction to images of damage need not stop at melancholy, but can lead us to a new reckoning. Would the objects we admire be more beautiful if they were not injured or displaced, if they did not remind us of unbearable violence? Siegel takes up writers from the time of the French Revolution to today who have reacted to the depredations of revolutionary iconoclasm, colonial looting, and industrial capitalism, and proposes that in these authors we may find resources with which to navigate our contemporary situation. Deftly bringing the methods of literary studies to bear on important debates in the study of heritage, archaeology, and visual culture, Overlooking Damage reflects on the ways in which concepts of beauty intersect with periods of epochal violence in an attempt to resist the separation of broken things from the worlds in which they have come to be embedded.
Aesthetics. --- Art --- Ruins, Modern. --- Violence in art. --- Philosophy. --- Antiquities. --- Collections. --- Global History. --- Injury. --- Looking. --- Looting. --- Responsibility. --- Restitution. --- Violence. --- War.
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Tijdens WO II vond er een immense kunstdrainage naar nazi-Duitsland plaats. Voor het eerst wordt dat verhaal voor België verteld. Hoe konden schilderijen van Memling, Brueghel en Jordaens zomaar verdwijnen? De nazi's haalden woningen leeg, roofden en spendeerden miljoenen Reichsmark om kunst te kopen. Na 8 jaar onderzoek legt Geert Sels de puzzelstukken bij elkaar die hij aantrof in archieven in Parijs, Den Haag, Koblenz en overal in België. Verzamelaars, handelaars en veilinghuizengingen zonder veel reserves mee in de kunstverwerving van de nazi's. Dit boek brengt de trafieken in kaart waarlangs de kunst het land verliet. Schilderijen uit België vonden hun weg naar het Louvre, Tate Modern, het Getty Museum of de Yale Art Gallery. Zelfs Rusland blijkt nog altijd kunst te hebben die na de oorlog naar België had moeten terugkeren. Andere werken kwamen wel terug en hangen nu in Belgische musea, zonder dat de rechtmatige eigenaars werden opgespoord.
BPB9999 --- Criminology. Victimology --- Art --- History of Germany and Austria --- History of Belgium and Luxembourg --- world wars --- looting --- restitution --- anno 1940-1949 --- 935 --- nazisme --- Tweede Wereldoorlog --- kunsthandel --- nieuwste tijden 1789-1945 --- Art thefts --- World War, 1939-1945 --- National socialism and art. --- kunstroof --- oorlogsbuit --- repatriëring van kunst --- looting [social issue] --- roofkunst. --- Wereldoorlog II. --- nazisme. --- geschiedenis. --- kunsthandel. --- verzamelingen. --- 20ste eeuw. --- België. --- roofkunst --- Wereldoorlog II --- geschiedenis --- verzamelingen --- 20ste eeuw --- België
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Following conflicting desires for an Aztec crown, this book explores the possibilities of repatriation. In The Contested Crown, Khadija von Zinnennburg Carroll meditates on the case of a spectacular feather headdress believed to have belonged to Montezuma, the last emperor of the Aztecs. This crown has long been the center of political and cultural power struggles, and it is one of the most contested museum claims between Europe and the Americas. Taken to Europe during the conquest of Mexico, it was placed at Ambras Castle, the Habsburg residence of the author’s ancestors, and is now in Vienna’s Welt Museum. Mexico has long requested to have it back, but the Welt Museum uses science to insist it is too fragile to travel. Both the biography of a cultural object and a history of collecting and colonizing, this book offers an artist’s perspective on the creative potentials of repatriation. Carroll compares Holocaust and colonial ethical claims, and she considers relationships between indigenous people, international law and the museums that amass global treasures, the significance of copies, and how conservation science shapes collections. Illustrated with diagrams and rare archival material, this book brings together global history, European history, and material culture around this fascinating object and the debates about repatriation.
Moctezuma's headdress. --- Anthropological museums and collections. --- Crowns. --- Cultural property --- Cultural property. --- Featherwork --- Repatriation. --- Weltmuseum Wien (Austria) --- repatriation, feather headdress, mexico, europe, colonialism, history, aztec, montezuma, emperor, exhibition, ownership, possession, ambras castle, welt museum, conquest, seizure, dispossession, holocaust, looting, ethics, reparation, nonfiction, indigenous, international law, collection, material culture, crown, anthropology, el penacho, replica. --- Cultural heritage --- Cultural patrimony --- Cultural resources --- Heritage property --- National heritage --- National patrimony --- National treasure --- Patrimony, Cultural --- Treasure, National --- Property --- World Heritage areas --- Repatriation of cultural property --- Cultural policy --- Headgear --- Regalia (Insignia) --- Coronations --- Anthropological collections --- Anthropology --- Museums --- Crown of Moctezuma --- Headdress of Moctezuma --- Kopilli ketzalli --- Montezuma's crown --- Montezuma's headdress --- Penacho de Moctezuma --- Penacho de Montezuma --- Crowns --- Headdresses --- Repatriation --- Government policy --- Law and legislation --- World Museum Vienna (Austria) --- Vienna (Austria). --- Museum für Völkerkunde (Austria)
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