f Ecological Exhibitions at the Musée Océanographique de Monaco

References

1. Adler, Anthony. ( 2019), Neptune’s Laboratory: Fantasy, Fear, and Science at Sea, Cambridge, MA:: Harvard University Press;.
   [Google Scholar]
2. Alaimo, Stacy. ( 2016), Exposed: Environmental Politics and Pleasures in Posthuman Times, Minneapolis and London:: University of Minnesota Press;.
   [Google Scholar]
3. Arends, Bergit. ( 2019;), ‘ Decolonising Natural History Collections through Contemporary Art. ’, in Camilla Rossi-Linnemann, and Giulia de Martini. (eds), Art in Science Museums: Towards a Post-disciplinary Approach, Oxon:: Routledge;, pp. 213–23.
   [Google Scholar]
4. Arnold, Ken. ( 2006), Cabinets for the Curious: Looking Back at Early English Museums, Aldershot:: Ashgate;.
   [Google Scholar]
5. Basta, Sarina, and McAllister, Jackie. ( 2011;), ‘ Exhibition as Expedition, Museum as Object, or Mark Dion’s Deep Sea Maneuvering. ’, in Mark Dion. (ed.), Oceanomania: Souvenirs of Mysterious Seas: From the Expedition to the Aquarium, London:: Mack;, pp. 147–69.
   [Google Scholar]
6. Bennett, Jane. ( 2001), The Enchantment of Modern Life: Attachments, Crossings, and Ethics, Princeton:: Princeton University Press;.
   [Google Scholar]
7. Bine-Muller, Noëlle. ( 2010), Musée Océanographique de Monaco: 1910–2010, Monaco:: Éditions La Gazette de Monaco;.
   [Google Scholar]
8. Bredekamp, Horst. ( 1995), The Lure of Antiquity and the Cult of the Machine, Princeton:: Marcus Wiener;.
   [Google Scholar]
9. Calcagno, Robert, and Beaud, Marie-Claude. ( 2011a;), ‘ Curious!. ’, in An Illustrated Guide to the Oceanomania Cabinet and Exhibition of Mark Dion at the Oceanographic Museum and Aquarium of Monaco, Monaco:: Éditions du Rocher;, pp. 3–5.
   [Google Scholar]
10. Calcagno, Robert, and Beaud, Marie-Claude. ( 2011b;), ‘ Curious!. ’, in Mark Dion. (ed.), Oceanomania: Souvenirs of Mysterious Seas: From the Expedition to the Aquarium, London:: Mack;, pp. 19–24.
    [Google Scholar]
11. Cameron, Fiona R.. ( 2015;), ‘ Ecologizing Experimentations: A Method and Manifesto for Composing a Post-Humanist Museum. ’, in Fiona R. Cameron, and Brett Neilson. (eds), Climate Change and Museum Futures, New York and London:: Routledge;, pp. 16–33.
    [Google Scholar]
12. Carpine-Lancre, Jacqueline. ( 2003;), ‘ Oceanographic Sovereigns: Prince Albert I of Monaco and King Carlos I of Portugal. ’, in Margaret Deacon,, Tony Rice, and Colin Summerhayes. (eds), Understanding the Oceans: A Century of Ocean Exploration, New York and London:, Routledge;, pp. 56–68.
    [Google Scholar]
13. Carroll La, Khadija. ( 2011;), ‘ Object to Project: Artists’ Interventions in Museum Collections. ’, in Christopher R. Marshall. (ed.), Sculpture and the Museum, Farnham:: Ashgate;, pp. 217–39.
    [Google Scholar]
14. Crawford, Dean. ( 2008), Shark, London:: Reaktion;.
    [Google Scholar]
15. Crutzen, Paul J., and Stoermer, Eugene. ( 2000;), ‘ The Anthropocene. ’, Global Change Newsletter, 41, pp. 17–18.
    [Google Scholar]
16. Daston, Lorraine, and Park, Katharine. ( 2001), Wonders and the Order of Nature: 1150–1750, New York:: Zone Books;.
    [Google Scholar]
17. Dion, Mark. (ed.) ( 2011), Oceanomania: Souvenirs of Mysterious Seas from the Expedition to the Aquarium, London:: Mack;.
    [Google Scholar]
18. Endt, Marion. ( 2007;), ‘ Beyond Institutional Critique: Mark Dion’s Surrealist Wunderkammer at the Manchester Museum. ’, Museum and Society, 5:1, pp. 1–14.
    [Google Scholar]
19. Endt, Marion. ( 2017;), ‘ Coral Fishing and Pearl Diving: Curatorial Approaches to Doubt and Wonder. ’, in Christian Mieves, and Irene Brown. (eds), Wonder in Contemporary Artistic Practice, London and New York:: Routledge;, pp. 177–93.
    [Google Scholar]
20. Findlen, Paula. ( 1994), Possessing Nature: Museums, Collecting, and Scientific Culture in Early Modern Italy, Los Angeles:: University of Los Angeles Press;.
    [Google Scholar]
21. Fudge, Erica. ( 2002), Animal, London:: Reaktion;.
    [Google Scholar]
22. Funch, Peter. ( 2017;), ‘ Synchronies at Risk: The Intertwined Lives of Horseshoe Crabs and Red Knot Birds. ’, in Anna Tsing,, Heather Swanson,, Elaine Gan, and Nils Bubandt. (eds), Arts of Living on a Damaged Planet: Monsters, Minneapolis and London:: University of Minnesota Press;, pp. 143–54.
    [Google Scholar]
23. Green, Alison. ( 2018), When Artists Curate: Contemporary Art and the Exhibition as Medium, London:: Reaktion Books;.
    [Google Scholar]
24. Haraway, Donna. ( 1984;), ‘ Teddy Bear Patriarchy: Taxidermy in the Garden of Eden, New York City 1908–1936. ’, Social Text, 11, pp. 20–64.
    [Google Scholar]
25. Haraway, Donna. ( 2016), Staying with the Trouble: Making Kin in the Chthulucene, Durham and London:: Duke University Press;.
    [Google Scholar]
26. Harlan, Volker. ( 2004), What Is Art? Conversation with Joseph Beuys (trans. Matthew Barton and Shelley Sacks), Forest Row:: Clairview Books;.
    [Google Scholar]
27. Hepburn, Ronald. ( 1984), ‘ Wonder’ and Other Essays, Edinburgh:: Edinburgh University Press;, pp. 131–54.
    [Google Scholar]
28. Hoare, Philip. ( 2014;), ‘ Museum and Gallery Curators Reopen the Cabinet of Curiosities Concept. ’, The Guardian, 13 January, https://www.theguardian.com/artanddesign/2014/jan/13/cabinet-curiosities-taxidermy-retro-museums. Accessed 8 December 2019.
    [Google Scholar]
29. H.S.H. The Prince of Monaco ( 1921;), ‘ Studies of the Ocean. ’, Scientific Monthly, 13:2, pp. 171–85.
    [Google Scholar]
30. Impey, Oliver, and MacGregor, Arthur. (eds) ( 1985), The Origins of Museums: The Cabinet of Curiosity in Sixteenth and Seventeenth Century Europe, Oxford:: Clarendon;.
    [Google Scholar]
31. Institut Océanographique ( 2019), Institut Océanographique, Fondation Albert 1, Prince de Monaco, https://www.oceano.org/wp-content/uploads/2019/06/institut_oceanographique_BD_01.pdf. Accessed 16 July 2020.
    [Google Scholar]
32. Irigaray, Luce. ( 1993;), ‘ Wonder: A Reading of Descartes, the Passions of the Soul. ’, in An Ethics of Sexual Difference (trans. Carolyn Burke and Gillian C. Gill), London:: Athlone Press;, pp. 72–82.
    [Google Scholar]
33. Jeffery, Celina. ( 2015a;), ‘ Artists Curating the Expedition. ’, in Celina Jeffery. (ed.), The Artist as Curator, Bristol:: Intellect;, pp. 173–88.
    [Google Scholar]
34. Jeffery, Celina. (ed.) ( 2015b), The Artist as Curator, Bristol:: Intellect;.
    [Google Scholar]
35. Kenseth, Joy. (ed.) ( 1991), The Age of the Marvelous, Hanover:: Hood Museum of Art;.
    [Google Scholar]
36. La Caze, Marguerite. ( 2002;), ‘ The Encounter Between Wonder and Generosity. ’, Hypatia, 17:3, pp. 1–19.
    [Google Scholar]
37. La Caze, Marguerite. ( 2013), Wonder & Generosity: Their Role in Ethics and Politics, New York:: State University of New York Press;.
    [Google Scholar]
38. Lange-Berndt, Petra, and Rübel, Dietmar. (eds) ( 2015), Mark Dion: The Academy of Things, Berlin:: Walther König;.
    [Google Scholar]
39. Lockwood, Randall. ( 1989;), ‘ Anthropomorphism Is Not a Four-letter Word. ’, in R. J. Hoage. (ed.), Perceptions of Animals in American Culture, Washington and London:: Smithsonian Institution Press;, pp. 41–56.
    [Google Scholar]
40. Lowe, Miranda,, Sabin, Richard,, Syperek, Pandora, and Wade, Sarah. ( 2020;), ‘ Curating Ocean Ecology at the Natural History Museum: Miranda Lowe and Richard Sabin in Conversation with Pandora Syperek and Sarah Wade. ’, Science Museum Group Journal, 13, http://journal.sciencemuseum.ac.uk/browse/issue-13/curating-ocean-ecology-at-the-natural-history-museum/. Accessed 17 July 2020.
    [Google Scholar]
41. MacGregor, Arthur. ( 2007), Curiosity & Enlightenment: Collectors and Collections from the Sixteenth to the Nineteenth Century, London:: Yale University Press;.
    [Google Scholar]
42. Martin, Rick. ( 2003;), ‘ Foreword. ’, in Ralph S. Collier., Shark Attacks of the Twentieth Century, Chatsworth:: Scientia Publishing;, pp. x–xi.
    [Google Scholar]
43. Midgley, Mary. ( 1979), Beast and Man: The Roots of Human Nature, Hassocks:: Harvester Press;.
    [Google Scholar]
44. Mills, Eric L., and Carpine-Lancre, Jacqueline. ( 1992;), ‘ The Oceanographic Museum of Monaco. ’, in Elisabeth Mann Borgese. (ed.), Ocean Frontiers: Explorations by Oceanographers on Five Continents, New York:: Harry N. Abrams;, pp. 121–35.
    [Google Scholar]
45. Morton, Timothy. ( 2010), The Ecological Thought, Cambridge, MA and London:: Harvard University Press;.
    [Google Scholar]
46. Morton, Timothy. ( 2018), Being Ecological, London:: Pelican;.
    [Google Scholar]
47. Mousse Magazine ( 2011;), ‘ Mark Dion OCEANOMANIA at the Oceanographic Museum and Villa Paloma, Monaco. ’, http://moussemagazine.it/mark-dion-oceanomania-at-at-the-oceanographic-museum-and-villa-paloma-monaco/. Accessed 8 December 2019.
    [Google Scholar]
48. Oceanographical Museum and Aquarium of Monaco ( 1935), Illustrated Guide, Monaco:.
    [Google Scholar]
49. Oceanographic Museum of Monaco ( 2011;), ‘ History of the Oceanographic Museum, Temple of the Sea. ’, in An Illustrated Guide to the Oceanomania Cabinet and Exhibition of Mark Dion at the Oceanographic Museum and Aquarium of Monaco, Monaco:: Éditions du Rocher;, pp. 7–11.
    [Google Scholar]
50. On Sharks & Humanity ( 2014), press kit , Monaco:: Oceanographic Museum of Monaco;.
    [Google Scholar]
51. Parkview Arts Action ( n.d.;), ‘ Wang Luyan. ’, http://www.parkviewartsaction.com/project/wang-luyan/. Accessed 29 December 2019.
52. Parsons, Howard L.. ( 1969;), ‘ A Philosophy of Wonder. ’, Philosophical and Phenomenological Research, 30:1, pp. 84–101.
    [Google Scholar]
53. Pomian, Krzysztof. ( 1987), Collectors & Curiosities: Paris and Venice: 1500–1800, Cambridge:: Polity Press;.
    [Google Scholar]
54. Putnam, James. ( 2009), Art and Artifact: The Museum as Medium, London:: Thames and Hudson;.
    [Google Scholar]
55. Rectanus, Mark W.. ( 2020), Museums Inside Out: Artist Collaborations and New Exhibition Ecologies, Minneapolis and London:: University of Minnesota Press;.
    [Google Scholar]
56. Robin, Libby. ( 2018;), ‘ Anthropocene Cabinets of Curiosity: Objects of Strange Change. ’, in Gregg Mitman,, Marco Armiero, and Robert S. Emmett. (eds), Future Remains: A Cabinet of Curiosities for the Anthropocene, Chicago and London:: University of Chicago Press;, pp. 205–18.
    [Google Scholar]
57. Robins, Claire. ( 2013), Curious Lessons in the Museum: The Pedagogic Potential of Artists’ Interventions, New York and London:: Routledge;.
    [Google Scholar]
58. Rose, Deborah Bird,, Van Dooren, Thom, and Chrulew, Matthew. (eds) ( 2017), Extinction Studies: Stories of Time, Death, and Generations, New York and Chichester:: Columbia University Press;.
    [Google Scholar]
59. Rossi-Linnemann, Camilla, and de Martini, Giulia. ( 2019;), ‘ Introduction. ’, in Camilla Rossi-Linnemann, and Giulia de Martini. (eds), Art in Science Museums: Towards a Post-disciplinary Approach, New York and London:: Routledge;, pp. 7–24.
    [Google Scholar]
60. Rubenstein, Mary Jane. ( 2008), Strange Wonder: The Closure of Metaphysics and the Opening of Awe, New York:: Columbia University Press;.
    [Google Scholar]
61. Sharks: A Thrilling Experience ( 2013), press kit , Monaco:: Oceanographic Museum of Monaco;.
    [Google Scholar]
62. Singer, Peter. ( 2010;), ‘ Fish: The Forgotten Victims on Our Plate. ’, The Guardian, 14 September, http://www.theguardian.com/commentisfree/cif-green/2010/sep/14/fish-forgotten-victims. Accessed 8 December 2019.
    [Google Scholar]
63. Stafford, Barbara Maria. ( 2001), Devices of Wonder: From the World in a Box to Images on a Screen, Los Angeles:: Getty Institute;.
    [Google Scholar]
64. Syperek, Pandora, and Wade, Sarah. ( 2020;), ‘ Curating the Sea. ’, Journal of Curatorial Studies, 9:2, pp. 157–61.
    [Google Scholar]
65. Vasalou, Sophia. ( 2015), Wonder: A Grammar, Albany:: State University of New York Press;.
    [Google Scholar]
66. Waal, Frans B. M. de. ( 1999;), ‘ Anthropomorphism and Anthropodenial: Consistency in Our Thinking about Humans and Other Animals. ’, Philosophical Topics, 27:1, pp. 255–80.
    [Google Scholar]
67. Wehner, Kirsten. ( 2017;), ‘ Towards an Ecological Museology: Responding to the Animal-Objects of the Australian Institute of Anatomy Collection. ’, in Jennifer Newell,, Libby Robin, and Kirsten Wehner. (eds), Curating the Future: Museums, Communities and Climate Change, London and New York:, Routledge;, pp. 85–100.
    [Google Scholar]
68. Weil, Kari. ( 2012), Thinking Animals: Why Animal Studies Now, New York:: Columbia University Press;.
    [Google Scholar]
69. World Wide Fund for Nature ( n.d.;), ‘ Say #NoSharkFin. ’, https://www.wwf.sg/get_involved/say_no_shark_fin/. Accessed 30 December 2019.
70. Wade, Sarah. ( 2020;), ‘ Ecological Exhibitions at the Musée Océanographique de Monaco. ’, Journal of Curatorial Studies, 9:2, pp. 162–181, doi: https://doi.org/10.1386/jcs_00019_1
    [Google Scholar]