Using updates to the entry for octopus in a classic work of marine biology as an example, Cohen explores how people and the physical planet are intertwined, and argues that their entanglement opens the opportunity to bridge long-standing disciplinary divisions.
Syperek and Wade document the plethora of recent curatorial projects that take the sea as a subject, positioning this work as a rich repository of innovative thought and practice. They reflect on the inherent entanglements of art and science, climate and colonialism, humans and nonhumans, space and place, and past, present, and future in various instances of oceanic curating.
In an interview with Chloé Leprince at France Culture radio, Juliette Bessette discusses art studies within the "blue humanities" and their place in academia and beyond.
A discussion between Louise Contant, head of collections at the French Musée national de la Marine, Lisa Cubaynes, art history student specializing in underwater museums, and Thierry Perez, marine ecologist with a strong perspective in ocean conservation. Moderated by Juliette Bessette, historian of art and science.
Zambernardi introduces readers to the tonnara: the system through which one of the giants of the sea, the bluefin tuna, has been fished on these shores for millennia. Through ethnographic research over several years, sailing with crews of rais (fishing chiefs) and tonnarotti (tuna fishermen) in the Mediterranean and Atlantic, Zambernardi explores the tonnara from the inside to show how this fishing method works and what is left of it today.
This article explores the following question: at the end of the nineteenth century, how did the scientific community, among others, come to be increasingly preoccupied with underwater photography, and how could this world, and its attributes, be made visible?
This contribution compares depictions of sea animals in early modern Dutch still-lifes with other types of images: emblems from the 16th and 17th century, scientific prints from treatises published between the end of the 14th and the 18th century, and finally drawings by still life artists themselves.
As a reflection on representations on biodiversity in art, this contribution considers the breadth of marine species highlighted in one work by British Surrealist, Eileen Agar (1899-1991). Much of her work relates to the natural world, especially the sea as an ecosystem and all the life within it, referred to here as the marine.
Stanford Humanities Center
