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This essay reconsiders the legacy of Ojibwa travellers who performed tableaux vivants or ‘living pictures’ alongside George Catlin’s Indian Gallery in Paris, 1845–46, many of whom died of smallpox before returning home. Contemporary Saulteaux artist Robert Houle’s architectural installation, Paris/Ojibwa, first exhibited at the Canadian Cultural Center in Paris in 2010, features a stage set peopled by paintings of the deceased travellers. Paris/Ojibwa invites us to see how tableaux vivants incorporated an Ojibwa understanding of the potential liveliness of images and objects. When wedded to complex indigenous notions of personhood, tableaux vivants reversed the ambitions of nineteenth century ethnography: instead of turning living Natives into static images, they reanimated pictures. Inviting audiences to participate in an indigenous view of a shared modernity, Paris/Ojibwa restores sociability to the archive of Ojibwa representations and models transcultural materialism inside Western institutions. [ABSTRACT FROM AUTHOR]

The article presents abstracts related to articles featured in the periodical including "Portraits and Politics in Classical Greece and Early Imperial China: An Institutional Approach to Comparative Art," by Jeremy Tanner, "Life Drawing and the Crisis of Historia in French Eighteenth-Century Painting," by Susanna Caviglia, and "Ojibwa Tableaux Vivants: George Catlin, Robert Houle and Transcultural Materialism," by Jessica L. Horton.