Page 226 - C.T. Loo A paper about his impact and activities in the Chinese art Market

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The Mobile and Metamorphic

The site where an object was displayed was also crucial to the construction of

spectacle. Compared to a museum’s usual presentation of its permanent collection, C. T.

Loo’s display was distinguished by its mobility largely due to the object’s frequent travel

and its comparatively brief presence in Loo’s collection. Objects were shown in variety

of locations and venues. Loo was actively involved in display activities not only in the

U.S., but also in Europe. Objects were shown in his own galleries, including the public

area, the backroom, and storage. 432 When it was on loan or sold, the object entered

auction houses, galleries, museums, or collectors’ homes and offices. When objects were

mediated and reproduced, the circulation of images created new dimensions and channels

of display. Loo ingeniously turned all these spaces into his own showrooms.

The timing and selection of site were crucial to Loo’s construction of spectacles. He

often carefully selected occasions and locations to showcase his collection. For example,

C. T. Loo not only had a strong presence in the 1935-6 International Exhibition of

Chinese Art in London, but also organized a satellite sale/exhibition at John Sparks in

London. 433 The resonance in category and theme between these two shows was noted by

the review, “an extensive and varied collection of fine products in bronze, pottery and

porcelain, many of which vie in importance with those now at Burlington House”. 434 In

432 Like Loo, the legendary art dealer Joseph Duveen transformed all the places he stayed
in his itinerary into small-scale art galleries (Behrman 1951).
433
It was a common practice that dealers would launch satellite shows in conjunction
with major exhibitions.
434 “Chinese Art in Mount Street,” Connoisseur, Vol. 97, No. 413 (January, 1936): 48.