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The Laocoön group, a famous source of inspiration for modern artists and a crucial masterpiece for historians of art and philosophers, is also a popular figure in queer contemporary art and culture, both distorted and celebrated through camp performative devices. After remarks about 1. “queer gaze” and the complex relation of queer or LGBTQIA+ culture and politics to the dialectics of kitsch/camp and classical / contemporary / pop art, and 2. (not straight but) queer classics, using “anachronisme raisonné” (Loraux”) and “écart” (Dupont), this article focuses on case studies from the 2010’s: 1. The untold gay history of Vatican guided tour; the music video Falling, by the “queer cowboy” Drew Beckman. 2. Paintings by Richard Wallace (esp. Laocoön); photographic series of Danil Golovkin (Modern Heroes : Photographing Bodybuilders in the Digital Age), 3. Julien Servy (Collages : Photo vs. Statues) ; the design firm modern8 (for the 2017 Utah Pride Festival). 4. The indigenous Canadian artist Kent Monkman, who, in paintings (The Academy), performances, installations, altogether stages and questions the violence of historical and cultural colonization and its impact on issues of gender and identity, and promotes dynamic interactions of aesthetics and politics, as well of pathos and camp.
La fabrique du savoir
(2006)
Whilst the notebook belongs to the imagery of the enlightened scientist's persona (an auxiliary tool kept by his side to be hastily scribbled with data, when at the bench or in the field), it has been given little attention by historians of science, who are used to consider its manuscript pages as a documentary resource to complement the printed text, but rarely take the notebook as a material and cultural object by itself, the history and epistemology of which is to be explored. Only recently have new trends in the historiography, by historians of printed books and reading practices, and by social and cultural historians of knowledge, called for a fresh look and opened the way for new approaches. Taking Alexander von Humboldt as a paramount example, who expressly devoted his life to "observing and recording" the world, pen in hand, this paper explores the note-taking practices at work in his travel diaries and notebooks from the perspective of the history of scientific observation and cognitive practices. Four themes are successively considered : the question of method and apprenticeship ; the timing of note-taking practices ; the nature and status of the data jotted down on the page ; finally, their uses in the production of scientific knowledge. In the back and forth movement between the observation of the world and the writing of science, the notebook stood as a crucial intellectual step and cognitive tool.
This paper aims to analyse the figure of the Venus of Milo in (extreme) contemporary art productions. The reception of this sculpture has already been studied in the past, but without considering the last ten years (2010 – 2020), during which artists like Yinka Shonibare, Fabio Viale, or Daniel Arsham decided to use the Venus for their new productions. The paper also explains how the Venus of Milo became a globalised icon and an inspiration for artists from all over the world.