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Nell Stevens

London
As seen in: The New York Times, Daily Mail, The Guardian, NPR, The Globe and Mail, The New Yorker, Bustle, Vogue, British Vogue, San Francisco Chronicle and
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Articles

Original und Fälschung in der Kunst: Wir sind leicht zu täuschen

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By Nell Stevens
| Der Freitag Verified
Vor vielen Jahren traf ich in einem Pub in Bloomsbury in London einen Mann, der sagte, er arbeite im British Museum. Er erzählte mir, dass jedes einzelne Ausstellungsstück im Museum ein Replikat sei, und dass alle Originale aus Konservierungsgründen im Depot lagerten. Ich widersprach ihm entsetzt. Es könne doch nicht sein, dass die Millionen Besucher*innen des British Museum anstelle der realen Schätze der Menschheitsgeschichte nur oberflächliche Simulakren erlebten.
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Why a Nineteenth-Century Scandal of Class and Identity Still Speaks to Us

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By Nell Stevens
| Literary Hub Verified
In 1865, a British man who was working as a butcher in Wagga Wagga, Australia, contacted a wealthy English family to announce himself as their long-lost heir. Roger Tichborne, an aristocrat, had been presumed drowned after a shipwreck in 1854, though his mother refused to accept his death and spent years searching for him, sending letters to far-flung corners of the world, placing adverts in international papers.
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What if every artwork you’ve ever seen is a fake?

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By Nell Stevens
| AOL UK Verified
Many years ago, I met a man in a pub in Bloomsbury who said he worked at the British Museum. He told me that every single item on display in the museum was a replica, and that all the original artefacts were locked away in storage for preservation. I was shocked and challenged him. It surely could not be the case that millions of annual visitors to the British Museum were encountering and experiencing not tangible, concrete treasures of human history, but the shallow simulacra of replicas.
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