Ting Chang

France

• The Louvre
• Musée d'Orsay
• Getty Centre
• Musée Carnavalet
• Musée Guimet
• Musée Jacquemart-André
• le Centre Pompidou
• Fondation Louis Vuitton
• Versailles
• Bibliotechque Nationale de France (BNF)
• Musée Fabre
• Musée Coubet

United Kingdom

• The National Gallery (London)
• Tate Modern
• The Courtauld
• The British Library
• Barbican
• Yorkshire Sculpture Park (YSP)

Spain

• Museo National del Prado
• Galerie Nazonali Barberini Corsini
• Museu Nacional d'Arte Catalunya
• Fundació Joan Miró
• Park Güell

Italy

• Gallerie dell'Accademia di Venezia
• La Biennale di Venezia
• Scuola Grande di San Rocco

Germany

• Staatliche Museen zu Berlin
• Pergamonmuseum

United States of America

• The Met
• MoMA
• National Gallery of Art (Washington)
• The Clark
• Art Institute of Chicago
• Carnegie Museum of Art
• The Frick Pittsburgh
• Princeton University Museum
• Yale University Art Gallery
• Yale Centre for British Art

Taiwan

• National Museum of History Taiwan
• National Palace Museum Taiwan

Canada

• The AGO
• Montreal Museum of Fine Arts

@incollection{chang_jeu_2022,
  title = {Le {Jeu} du monde: {Games}, {Maps}, and {World} {Conquest} in {Early} {Modern} {France}},
  isbn = {978-1-4875-4493-5},
  url = {https://nottingham-repository.worktribe.com/output/16223958},
  language = {en},
  booktitle = {Making {Worlds}: {Global} {Invention} in the {Early} {Modern} {Period}},
  publisher = {University of Toronto Press},
  author = {Chang, Ting},
  editor = {Vanhaelen, Angela and Wilson, Bronwen},
  month = dec,
  year = {2022},
  pages = {201--236},
}

@incollection{chang_emile_2019,
  series = {Histories of {World} {Art} on {Western} {Markets}},
  title = {Emile {Guimet}’s {Network} for {Research} and {Collecting} {Asian} {Objects} (ca. 1877–1918)},
  isbn = {978-3-11-054508-1},
  url = {https://doi.org/10.1515/9783110545081},
  language = {en},
  booktitle = {Acquiring {Cultures}},
  publisher = {De Gruyter},
  author = {Chang, Ting},
  editor = {Savoy, Bénédicte and Guichard, Charlotte and Howald, Christine},
  year = {2019},
  doi = {10.1515/9783110545081},
  pages = {209--222},
}

@incollection{chang_paris_2016,
  edition = {1},
  title = {Paris, {Japan}, and {Modernity}: {A} {Vexed} {Ratio}},
  isbn = {978-1-315-09241-6},
  language = {en},
  booktitle = {Is {Paris} {Still} the {Capital} of the {Nineteenth} {Century}?: {Essays} on {Art} and {Modernity}, 1850-1900},
  publisher = {Routledge},
  author = {Chang, Ting},
  editor = {Clayson, Hollis and Dombrowski, André},
  month = jun,
  year = {2016},
  doi = {10.4324/9781315092416-11},
  pages = {153--170},
}

@article{chang_crowdsourcing_2016,
  title = {Crowdsourcing avant la lettre: {Henri} {Cordier} and {French} {Sinology}, ca. 1875–1925},
  volume = {56},
  issn = {1931-0234},
  url = {https://muse.jhu.edu/pub/1/article/631665},
  doi = {10.1353/esp.2016.0028},
  language = {en},
  number = {3},
  journal = {L'Esprit Créateur},
  author = {Chang, Ting},
  year = {2016},
  note = {Publisher: Johns Hopkins University Press},
  pages = {47--60},
}

@incollection{chang_hommes_2013,
  address = {Paris},
  title = {Les hommes et les choses: {Le} collectionnisme d’{Edmond} de {Goncourt}},
  isbn = {978-2-8124-1806-8},
  url = {https://classiques-garnier.com/marcel-proust-et-les-arts-decoratifs-poetique-materialite-histoire-les-hommes-et-les-choses.html},
  language = {fr},
  booktitle = {Marcel {Proust} et les arts décoratifs},
  publisher = {Garnier Classiques},
  author = {Chang, Ting},
  month = dec,
  year = {2013},
  pages = {39--51},
}

@book{chang_travel_2017,
  title = {Travel, collecting, and museums of {Asian} art in nineteenth-century {Paris}},
  isbn = {978-1-351-53844-2},
  language = {en},
  publisher = {Routledge},
  author = {Chang, Ting},
  month = jul,
  year = {2017},
}

@article{chang_japonisme_2011,
  title = {Le japonisme, la chinoiserie et la {France} d'{Edmond} de {Goncourt}},
  volume = {1},
  issn = {1243-8170},
  url = {https://www.persee.fr/doc/cejdg_1243-8170_2011_num_1_18_1053},
  doi = {10.3406/cejdg.2011.1053},
  language = {fr},
  number = {18},
  urldate = {2025-09-08},
  journal = {Cahiers Edmond et Jules de Goncourt},
  author = {Chang, Ting},
  translator = {Lafont, Anne},
  year = {2011},
  pages = {55--68},
}

@incollection{chang_goncourts_2011,
  title = {Goncourt’s {China} {Cabinet}, a {Fantasy}},
  isbn = {978-1-61149-006-0},
  language = {en},
  booktitle = {Collecting {China}: {The} {World}, {China}, and a {History} of {Collecting}},
  publisher = {University Of Delaware Press},
  author = {Chang, Ting},
  editor = {Rujivacharakul, Vimalin},
  month = feb,
  year = {2011},
  pages = {31--45},
}

@incollection{chang_asia_2010,
  edition = {1},
  title = {Asia as a {Fantasy} of {France} in the {Nineteenth} {Century}},
  isbn = {978-0-7546-6937-1},
  language = {en},
  booktitle = {The {Market} for {Exposure}: {Reimagining} {Cultural} {Exchange} between {Europe} and {Asia}, 1400–1900},
  publisher = {Ashgate Publishing},
  author = {Chang, Ting},
  editor = {North, Michael},
  month = jul,
  year = {2010},
  pages = {45--52},
}

@incollection{chang_entre_2010,
  title = {Entre art et science: la représentation des autochtones dans les {Promenades} japonaises d'Émile {Guimet} et {Félix} {Régamey} {III}},
  isbn = {978-2-86820-399-1},
  language = {fr},
  booktitle = {L'{Artiste} savant à la conquête du monde moderne},
  publisher = {PU STRASBOURG},
  author = {Chang, Ting},
  editor = {Lafont, Anne},
  month = apr,
  year = {2010},
}

@article{chang_object_2008,
  title = {Object, {Beeld} en {Voorstelling} {Twee} 19e-{Eeuwse} {Europese} {Verbeeldingen} van ‘{China}’},
  volume = {38},
  issn = {2543-1749},
  url = {https://brill.com/view/journals/vvak/38/2/article-p56_56.xml},
  doi = {10.1163/25431749-90000128},
  language = {nl},
  number = {2},
  journal = {Aziatische Kunst},
  author = {Chang, Ting},
  month = jul,
  year = {2008},
  note = {Place: Leiden, The Netherlands
Publisher: Brill},
  pages = {56--66},
}

@incollection{chang_monsieur_2008,
  address = {Saint-Étienne},
  title = {Un monsieur à chapeau: les hiérarchies cachées de '{La} {Rencontre}' de {Gustave} {Courbet}},
  isbn = {978-2-86272-757-8},
  language = {fr},
  booktitle = {La production de l’immatériel: {Théories}, représentations et pratiques de la culture au xixe siècle},
  publisher = {Presses universitaires de Saint-Étienne},
  author = {Chang, Ting},
  editor = {Mollier, Jean-Yves and Régnier, Philippe and Vaillant, Alain},
  month = sep,
  year = {2008},
  pages = {407--416},
}

@incollection{dsouza_disorienting_2006,
  edition = {1},
  title = {Disorienting {Orient}: {Duret} and {Guimet}, {Anxious} {Flâneurs} in {Asia}},
  isbn = {978-0-7190-6784-6},
  language = {en},
  booktitle = {The invisible flâneuse? {Gender}, public space and visual culture in nineteenth century {Paris}},
  publisher = {Manchester University Press},
  author = {Chang, Ting},
  editor = {D'Souza, Aruna and McDonough, Tom},
  month = sep,
  year = {2006},
  pages = {65--78},
}

@incollection{chang_don_2006,
  title = {Le {Don} échangé: {L}’{Entrée} des collections privées dans les musées publics au 19e siècle},
  isbn = {978-2-7535-0117-1},
  language = {fr},
  booktitle = {Collections et marché de l'art en {France} 1789-1848},
  publisher = {Presses universitaires de Rennes \& Institut national d'histoire de l'art},
  author = {Chang, Ting},
  editor = {Preti-Hamard, Monica and Seneschal, Philippe},
  month = jan,
  year = {2006},
  pages = {87--95},
}

@article{chang_limits_2005,
  title = {The {Limits} of the {Gift}: {Alfred} {Chauchard}’s {Donation} to the {Louvre}},
  volume = {17},
  issn = {1477-8564, 0954-6650},
  url = {http://academic.oup.com/jhc/article/17/2/213/640057/The-limits-of-the-giftAlfred-Chauchards-donation},
  doi = {10.1093/jhc/fhi026},
  language = {en},
  number = {2},
  urldate = {2025-09-13},
  journal = {Journal of the History of Collections},
  author = {Chang, Ting},
  month = dec,
  year = {2005},
  pages = {213--221},
}

@article{chang_hats_2004,
  title = {Hats and {Hierarchy} in {Gustave} {Courbet}'s "{The} {Meeting}"},
  volume = {86},
  issn = {00043079},
  url = {https://www.jstor.org/stable/4134460?origin=crossref},
  doi = {10.2307/4134460},
  language = {en},
  number = {4},
  urldate = {2025-09-13},
  journal = {The Art Bulletin},
  author = {Chang, Ting},
  month = dec,
  year = {2004},
  pages = {719},
}

@incollection{chang_bruyas_2004,
  title = {Bruyas, {Paris}, and {Montpellier}: {Artistic} {Center} and {Periphery}},
  isbn = {978-0-300-10523-0},
  language = {en},
  booktitle = {Bonjour, {Monsieur} {Courbet}! {The} {Bruyas} {Collection} from the {Musee} {Fabre}, {Montpellier}},
  publisher = {Clark Art Institute},
  author = {Chang, Ting},
  editor = {Lees, Sarah},
  month = may,
  year = {2004},
  pages = {45--52},
}

@article{chang_collecting_2002,
  title = {Collecting {Asia}: {Theodore} {Duret}'s {Voyage} en {Asie} and {Henri} {Cernuschi}'s {Museum}},
  volume = {25},
  issn = {0142-6540, 1741-7287},
  shorttitle = {Collecting {Asia}},
  url = {https://academic.oup.com/oaj/article-lookup/doi/10.1093/oxartj/25.1.17},
  doi = {10.1093/oxartj/25.1.17},
  language = {en},
  number = {1},
  urldate = {2025-09-13},
  journal = {Oxford Art Journal},
  author = {Chang, Ting},
  month = jan,
  year = {2002},
  pages = {17--34},
}

@article{chang_rewriting_1998,
  title = {Rewriting {Courbet}: {Silvestre}, {Courbet}, and the {Bruyas} {Collection} after the {Paris} {Commune}},
  volume = {21},
  issn = {0142-6540, 1741-7287},
  shorttitle = {Rewriting {Courbet}},
  url = {https://academic.oup.com/oaj/article-lookup/doi/10.1093/oxartj/21.1.105},
  doi = {10.1093/oxartj/21.1.105},
  language = {en},
  number = {1},
  urldate = {2025-09-13},
  journal = {Oxford Art Journal},
  author = {Chang, Ting},
  month = jan,
  year = {1998},
  pages = {105--120},
}

@article{chang_models_1996,
  title = {Models of {Collecting}},
  volume = {19},
  issn = {0142-6540, 1741-7287},
  url = {https://academic.oup.com/oaj/article-lookup/doi/10.1093/oxartj/19.2.95},
  doi = {10.1093/oxartj/19.2.95},
  language = {en},
  number = {2},
  urldate = {2025-09-13},
  journal = {Oxford Art Journal},
  author = {Chang, Ting},
  month = jan,
  year = {1996},
  pages = {95--97},
}

@article{chang_meeting_1996,
  title = {The {Meeting}: {Gustave} {Courbet} and {Alfred} {Bruyas}},
  volume = {138},
  issn = {0007-6287},
  language = {en},
  number = {1122},
  journal = {The Burlington Magazine},
  author = {Chang, Ting},
  month = sep,
  year = {1996},
  pages = {586--591},
}

@misc{chang_french_2016,
  address = {University College London},
  title = {French sinology and {Gustave} {Caillebotte}’s {Portrait} of {Henri} {Cordier}, 1883},
  url = {https://nottingham-repository.worktribe.com/output/779949},
  abstract = {This presentation examines the competing and sometimes conflicting demands encountered in the study of portraiture and biography. Once revised, the paper will become an article that will make an original contribution to art history in empirical and conceptual ways. Based on research in unpublished archives I have discovered the nature of the relationship between the artist Caillebotte and the sitter Cordier, a previously unsolved mystery variously noted by commentators on the painting. I will further advance the discussion by moving away from Michael Fried's concept of "absorption," a persistent interpretive model even in an exhibition catalogue on Caillebotte in 2016, to examine other questions. In addition to the problems faced by both art historians and artists between portraiture (life imaging) and biography (life writing), I will examine representations of "Frenchness," and Cordier's intellectual and political work in the broader context of French imperialism in East Asia.},
  language = {en},
  author = {Chang, Ting},
  month = sep,
  year = {2016},
}

@phdthesis{chang_alfred_1996,
  address = {Falmer, UK},
  type = {{PHD}},
  title = {Alfred {Bruyas}: {The} {Mythology} and {Practice} of {Art} {Collecting} and {Patronage} in {Nineteenth}-{Century}},
  url = {https://sussex.primo.exlibrisgroup.com/permalink/44SUS_INST/p3abpr/alma9940271302461},
  abstract = {This thesis investigates the career of Alfred Bruyas (1821-77), an art collector and patron active in Paris and Montpellier in the third quarter of the nineteenth century. Through an examination of his personal correspondence, housed in the Fondation Doucet in Paris, his activities and relationships with artists, critics, dealers and fellow collectors are traced from the late 1840s until his death in 1877. Most important among his collaborators were Alexandre Cabanel, Octave Tassaert, Auguste Glaize, Gustave Courbet, Eugene Delacroix, and the art critic Theophile Silvestre, each of whom is discussed at length. Using unpublished documents from the departmental and municipal archives of Montpellier, as well as catalogues and pamphlets published by Bruyas, his goals, practices, successes and failures are considered. In particular, the relationship with Courbet and their ambiguous yet fruitful association are examined, and special attention is paid to events of 1855, the year of the Exposition universelle and the Pavilion of Realism in Paris. In an exhaustive treatment of contemporary criticism, the largely negative reception of the two major paintings by Courbet in which Bruyas figured, The Meeting and The Painter's Studio, are traced. When Bruyas donated his entire gallery to the Musde Fabre in Montpellier his contribution to the history of art was acknowledged and praised. Subsequent art historical scholarship of the twentieth century, in contrast, has tended to reduce Bruyas to an eccentric collector who made little impact, especially in his association with Courbet. Using his example as a point of departure, the long tradition in France of portraying collectors as dangerous, obsessive stalkers on the margins of society is investigated. The origins of that depiction is traced to Jean de La Bruyere who established the indelible topos of the mad collector in his work, Les Caracteres of 1694 (8th edition). Through the analysis of an extensive number of sources — books, newspapers, novelS and private journals — from the eighteenth and nineteenth centuries the enduring legacy of La Bruyére in the perception and portrayal of collectors in France is demonstrated. As the nineteenth century progressed, individual collectors emerged to play an increasing role in the assembly and preservation of art. In donating their galleries to the public, moreover, they demonstrated a new and essential contribution to the expansion of national museums. Through five case studies I analyse the evolution of private collecting and its impact on public institutions in nineteenth-century France. Bruyas's outstanding contribution is examined within this larger development. In so doing this thesis attempts to dispel the persistent myth of Bruyas as an eccentric collector of no importance.},
  language = {en},
  school = {University of Sussex},
  author = {Chang, Ting},
  year = {1996},
}

Ting’s Life was Art. She searched for it; she lived inside it; she breathed every colour of it. She was fun, funny, acerbic, down to earth with a head right up there with the Masters. In 1985, shortly after this picture was taken, while she studied in Montreal, she wrote to me: “I spend most of my money on prints and catalogues. You should see my room — every wall is plastered with reproductions. I didn’t write in this card (Renoir man!) in case you wanted to use it.”

I do not have words to express how sad I feel, how cheated I feel at the passing of this brilliant star. There are so many things I have not told her yet. So, Ting, it will have to wait a little more. I’ll see you on the other side, man.

Sylvia

I met Ting at Leaside High School in the early 1980’s. We also worked together outside of school as Hosts, at the Ontario Science Centre. Both environments afforded us a lot of time to get up to all kinds of teenage capers; some ridiculous, some genuinely hilarious and a couple mildly cringe inducing, as is natural for that age. I was fortunate to have been invited by Ting as Editor to work with her on our school yearbook, Clan Call. Ting’s incredible sense of humour and infectious laugh permeated our ill-conceived advertising campaign, the looming deadlines, and various crisis situations involving darkroom photography. Working on graphic layouts with Ting planted the seed of my future career as a designer and educator, a through line I can trace all the way to my coding of this website. Throughout her life she was a joyful supporter; always profoundly enthusiastic about the things people were doing or learning to do, and equally joyful about sharing the achievements of her family, friends, and colleagues.

Ting was an inspiration to me throughout her life. She faced challenges head on with fortitude and grace, while never wavering in her concern for the well being of others. Whip smart, witty, and deeply thoughtful; she beautifully deployed her curious intellect to explore scholarship, life experiences, and human relationships, with each informing the other. I have been deeply fortunate to learn from her and to call her my friend. She continues to be my muse and I am grateful for the insightful treasure she gave me every time we spoke.

Here is Ting in her own words, answering some of the questions in the Proust Questionnaire, on March 19th, 2025.

Q: What is your idea of perfect happiness?
A: “Walking, talking, being with friends, eating good food, enjoying the sunshine, listening to great music.”

Q: What is your greatest extravagance?
A: “Application fees and passports.”

Q: What is the quality you most like in a man?
A: “Humour.”

Q: What is the quality you most like in a woman?
A: “Humour.”

Q: What is your favourite occupation?
A: “Talking with friends and family—the people I love.”

Q: What is your most marked characteristic?
A: Optimism

Q: What is your motto?
A: “Keep on truckin’.”

xo Robin

I only met Ting a few times and in those times she touched my life. Her warmth, enthusiasm and sense of fun all shone through immediately the first time we met, when we were introduced by Ian Brookes and Caroline Robinson.

Last year, Ting invited me to join her at an open air theatrical event taking place in The Park area of Nottingham, a place Ting was very fond of and where she used to live. We enjoyed a happy afternoon watching great theatre under the shade of a huge tree on a very hot day.

Thank you...for the chance to share my all too few memories of Ting. [The] obituary brought me to tears, at all we’ve lost.

Adeline

Ting sent the best postcards.

During the two decades of our friendship, they came almost every time she took a long trip… and I loved them.

I loved seeing what she had to say, of course, but I also loved that she kept writing by hand well after almost everyone had turned to typing messages on screens. It always felt a bit more personal, a bit more caring. And I loved that she kept sending things I could touch and move, shuffle and show in different ways. Maybe the seeds of her second book were germinating for a long time in her fidelity to cards.

Ting being Ting, it was clear that she put a lot of thought into the images she chose. Somehow, she kept finding ones that echoed themes we’d been discussing or that extended little in-jokes we’d been sharing. And as with her pithy written messages, her choices were often guided by a wry and impish sense of humor. It was lovely to feel recognized and encouraged to chuckle at the same time.

Which brings me to my fridge… Ting is still responsible for almost half the pieces on its doors. They’ve been moved around over the years and some, as you can see, have become badly stained and warped. But I’ve never wanted to take any of them down.

That’s been truer than ever in the last fourteen months… even for the one on the top right, with its haunting offer to replace broken heads. As Ting wrote almost a decade ago with her typical prescience and dry humor, “unfortunately, this service is not available for human heads like yours and mine”. Amid the sadness, she still makes me smile.

***

To end with something lighter, here are a few thoughts about two other images involving Ting. Both show her working for the union she represented and cared about deeply.

The one on the left, by Lisa Rull, appears at the end of Laila’s very moving obituary. It’s been my favorite photo of Ting since I first laid eyes on it because it condenses so much of what I loved about her: the ability to combine great kindness and concern for others with an admirable “steeliness” and willingness to push back, her emphasis on doing things collectively (even as she loved being alone in an archive), and her wonderful capacity for infectious joy.

I hadn’t seen the image on the right until recently, after it was posted by Ting’s good friend, Richard Wrigley (though I don’t know if he took it). It’s fuzzy because it’s at least a third-hand photo of a photo, which makes me think it was often copied and shared, but I like it a lot as well because it summarizes in a slightly different way so much of what Ting brought to the world: a determination that infused everything she did, her willingness to stand up for what she thought was right, not just for herself but for others as well, and her ability to keep smiling come what may.

We were lucky to have her in our lives.

Roger