/**
 * Credits
 */

import React from "react";

export default function Credits({ visible, open, onToggle }) {
  return (
    <>
      <div
        className={visible ? "credits-link visible" : "credits-link"}
        onClick={() => onToggle(true)}
      >
        Credits
      </div>
      <div className="inner">
        <div className={open ? "credits visible" : "credits"}>
          <div className="inner" onClick={(event) => event.stopPropagation()}>
            <div className="row">
              <div
                className="column"
                dangerouslySetInnerHTML={{ __html: CREDITS_STRINGS.site }}
              />
              <div
                className="column"
                dangerouslySetInnerHTML={{ __html: CREDITS_STRINGS.press }}
              />
              <div className="column">
                <img
                  className="close"
                  src="/assets/img/close.svg"
                  onClick={() => onToggle(false)}
                />
                <span
                  dangerouslySetInnerHTML={{ __html: CREDITS_STRINGS.sponsors }}
                />
              </div>
            </div>
            <div
              className="row logos"
              dangerouslySetInnerHTML={{ __html: CREDITS_STRINGS.logos }}
            />
            <div className="row bibliography-title">
              <h2>BIBLIOGRAPHY</h2>
            </div>
            <div className="bibliography">
              <div
                className="column"
                dangerouslySetInnerHTML={{
                  __html: CREDITS_STRINGS.bibliography1,
                }}
              />
              <div
                className="column"
                dangerouslySetInnerHTML={{
                  __html: CREDITS_STRINGS.bibliography2,
                }}
              />
              <div
                className="column"
                dangerouslySetInnerHTML={{
                  __html: CREDITS_STRINGS.bibliography3,
                }}
              />
              <div
                className="column"
                dangerouslySetInnerHTML={{
                  __html: CREDITS_STRINGS.bibliography4,
                }}
              />
            </div>
          </div>
        </div>
      </div>
    </>
  );
}

const CREDITS_STRINGS = {
  site: `
    <h2>CREDITS</h2>
    <div class="credits-rows">
      <div>
        <div>Artist:</div> <a href="https://www.stankievech.net/" target="_blank">Charles Stankievech</a>
      </div>
      <div>
        <div>Developer:</div> <a href="https://asdf.us/" target="_blank">Jules LaPlace</a>
      </div>
      <div>
        <div>Commissioning Curator:</div> <a href="http://nadimsamman.com/" target="_blank">Nadim Samman</a>
      </div>
      <div>
        <div>Design Consultation:</div> <span>Raf Rennie</span>
      </div>
      <div>
        <div>3D Modelling:</div> <span>Brandon Poole</span>
      </div>
    </div>
    <div>
      Commissioned by:<br/>
      <b>KW Institute for Contemporary Art</b><br/>
      Auguststraße 69<br/>
      10117 Berlin<br/>
      Tel. +49 30 243459-0<br/>
      Fax +49 30 243459-99<br/>
      <a href="mailto:info@kw-berlin.de?subject=The+Last+Museum">info@kw-berlin.de</a><br/>
      <br/>
      Presented in partnership with:<br/>
      National Gallery of Canada /<br/>
      Musée des Beaux-Arts du Canada<br/>
      <a href="https://gallery.ca/" target="_blank">gallery.ca</a><br/>
      &<br/>
      The Courtauld Institute for Art<br/>
      <a href="https://courtauld.ac.uk/" target="_blank">courtauld.ac.uk</a>
    </div>
  `,
  press: `
      <h2>&nbsp;</h2>
      The artist thanks the creative team that made this happen: Nadim, Jules, Raf and Brandon. Thanks to the partnering institutions the National Gallery of Canada, particularly Sasha Suda, Kitty Scott and Jonathan Shaughnessy, and The Courtauld, especially Sara Wilson. Thank you to Ala Roushan for the patient working through the entire project. <br/>
      <br/>
      Press Enquiries:<br/>
      Natanja von Stosch<br/>
      Tel. +49 30 243459 41<br/>
      <a href="mailto:nvs@kw-berlin.de?subject=The+Last+Museum">nvs@kw-berlin.de</a><br/>
      Press Releases and Image Material:<br/>
      <a href="https://kw-berlin.de/en/press" target="_blank">kw-berlin.de/en/press</a><br/>
      <br/>
      KW Institute for Contemporary Art is institutionally supported by the Senate Department for Culture and Europe, Berlin.<br/>
  `,
  sponsors: `
    <h2>PUBLICATION</h2>
    Nº6092 was originally an exhibition at the National Gallery of Canada for the Sobey Art Prize. A bilingual publication of the text on this website is available.<br/>
    <a href="https://stankievech.net/dwn/Stankievech_no6092_download.pdf" target="_blank">Nº6092 Bilingual Publication</a><br/>
    <br/>
    The research and writing in this exhibition originally published in:<br/>
    <a href="https://www.journals.uchicago.edu/doi/abs/10.1086/689811?journalCode=aft" target="_blank">“CounterIntelligence: A Glossary of Doubled Agency.”</a> <i>Afterall Journal</i>, University of Chicago Press, Vol. 42, Autumn/Winter 2016<br/>
        &<br/>
    <a href="https://www.journals.uchicago.edu/doi/abs/10.1086/704197?mobileUi=" target="_blank">“Exhibit A: Notes on a Forensic Turn in Contemporary Art”</a> <i>Afterall Journal</i>, University of Chicago Press, Vol. 47, Spring/Summer 2019.<br/>
  `,
  logos: `
    <a href="https://www.kw-berlin.de/" target="_blank"><img src="assets/img/kw-white.png"></a>
    <a href="https://www.gallery.ca/" target="_blank"><img src="assets/img/ngc.svg"></a>
    <a href="https://courtauld.ac.uk/" target="_blank"><img src="assets/img/courtauld.svg"></a>
    <img src="assets/img/ksb.svg">
  `,
  bibliography1: `
<p>
Adair, E. R. 1929. <i>The exterritoriality of ambassadors in the sixteenth and seventeenth centuries</i>. London: Longmans, Green and Co
</p>

<p>
Banville, John. 1997. <i>The untouchable</i>. London: Picador.
</p>

<p>
Barclay, Marion H. 2012. “The National Gallery of Canada and Nathan Stolow”<b> </b><i>Journal of the Canadian Association for Conservation </i>37: 22-40.
</p>

<p>
Bac, Ferdinand. 1929. <i>Le Favori du Cardinal Albani: (Jean-Joachim Winckelmann), "le p</i><i>è</i><i>re de l'arch</i><i>é</i><i>ologie", 1717-1768</i>. Paris: Louis Conrad.
</p>

<p>
Bamber, David and Chris Hastings. 2001. “Blunt sold Canadians looted fake paintings.” <i>The</i> <i>Telegraph Newspaper.</i> 04 Feb
</p>

<p>
Bazin, Germain, Anthony Blunt and Charles Sterling. 1960. <i>Exposition Nicolas Poussin</i>. Paris: Editions des Musees Nationaux.
</p>

<p>
Berger, John, and Geoff Dyer. 2001. “Et in Arcadia Ego: Poussin” <i>Selected essays</i>. New York: Pantheon Books.
</p>

<p>
Blunt, Anthony. 1937. "The Hypnerotomachia Poliphili in 17th Century France." <i>Journal of the Warburg Institute</i> 1, no. 2. 117-37.
</p>

<p>
Blunt, Anthony. 1938. "The Criminal-King in a 19th Century Novel." <i>Journal of the Warburg Institute</i> 1, no. 3: 248-49.
</p>

<p>
Blunt, Anthony. 1938 ‘Poussin’s <i>Et in Arcadia ego</i>’, <i>The Art Bulletin</i>, vol.20, no.1. 96–100
</p>

<p>
Blunt, Anthony. 1938. “A newly discovered Poussin.” <i>Apollo: the International Magazine of the Arts</i>. 27: 196-99. 
</p>

<p>
Blunt, Anthony. 1946. <i>Catalogue of the exhibition of the King's pictures: 1946-47, Royal Academy of Arts, London</i>. London: Royal Academy of Arts.
</p>

<p>
Blunt, Anthony. 1947. "Poussin Studies-I: Self-Portraits". <i>The Burlington Magazine for Connoisseurs.</i><i> </i>89 (533): 219-226.
</p>

<p>

Blunt, Anthony and Douglas Cooper. 1954. <i>The Courtauld collection; a catalogue and introduction</i>. London: University of London.
</p>

<p>
Blunt, Anthony.  1960. <i>Exposition Nicolas Poussin.</i> Paris: Édition des Musées nationaux. 

</p>

<p>
Blunt, Anthony. 1960. "Poussin studies: X ; Karel Philips Spierincks, the first imitator of Poussin's Bacchanals". <i>The Burlington Magazine / Ed. Benedict Nicolson.</i><i> </i>308-311.
</p>

<p>
Blunt, Anthony. 1960. “Review: Colloque Nicolas Poussin.” <i>The Burlington Magazine / Ed. Benedict Nicolson.</i><i> </i>330-332
</p>

<p>
Blunt, Anthony. 1964. <i>The Sir Anthony Blunt collection: an exhibition held at the Courtauld Institute Galleries</i>. London: The Courtauld Institute of Art.
</p>

<p>
Blunt, Anthony. 1966. <i>The paintings of Nicolas Poussin. Critical catalogue</i>. London: Phaidon.
</p>

<p>
Blunt, Anthony. 1967. <i>Nicolas Poussin</i>. (A.W. Mellon lectures in the fine arts, 1958). New York: Bollingen Foundation; distributed by Pantheon Books.
</p>
  `,
  bibliography2: `
<p>
Blunt, Anthony. 1978. <i>Baroque & rococo: architecture & decoration</i>. New York: Harper & Row.
</p>

<p>
Boskamp, Ulrike. 2013. ‘Spion als Künstler als Spion’ (‘Spy as Artist, Artist as Spy’). <i>Fabian Reimann: Amateur. </i>Leipzig and Hannover: Spector Books and Kunstverein Hannover. 57–72. 

</p>

<p>
Cannon-Brookes, Peter. "Curataurus rex and the Courtauld mafia". 1992. <i>Museum Management and Curatorship.</i><i> </i>11 (4): 341-345.
</p>

<p>
Cassius Dio Cocceianus, Earnest Cary, and Herbert Baldwin Foster. 1961. <i>Roman history</i>. Cambridge: Harvard University Press.
</p>

<p>
Carrier, David. 1993. <i>Poussin's paintings: a study in art-historical methodology</i>. University Park, Pa: Pennsylvania State University Press.
</p>

<p>
Carter, Miranda. 2001. <i>Anthony Blunt: his lives</i>. New York: Farrar, Straus, and Giroux.
</p>

<p>
Cascone, Sarah. 2015. “Arrest of Swiss Freeport Owner Yves Bouvier Over Art Fraud Ring Rocks Art World”. <i>artnet news</i>, February 27. Online.
</p>

<p>
Cicero, Marcus Tullius, and Charles Duke Yonge. 1957. Cicero's orations. Trans. C.D. Younge. New York: Fine Editions Press.
</p>

<p>
Chu, Petra.  2004. “Courbet, or Not Courbet, That is the Question”. <i>IFAR Journal </i>7: 18-26.
</p>

<p>
Clark, Anthony M. 1962. "Book Review: Connoisseurs and Secret Agents in Eighteenth Century Rome". <i>The Art Bulletin.</i><i> </i>44 (2): 150-151.
</p>

<p>
Costello, John. 1988. <i>Mask of treachery</i>. New York: W. Morrow.
</p>

<p>
Deleuze, Gilles. 1993. <i>The fold: Leibniz and the Baroque</i>. Minneapolis: University of Minnesota Press.
</p>

<p>
Etheridge, Christopher and Stephen Gritt.” Rubens, Van Dyck, and Jordaens: Paintings in the Collection of the National Gallery of Canada.” <i>NGC Review/Revue du MBAC</i>, 2016: 1-38. 
</p>

<p>
Fernier, Robert. 1977. <i>La Vie et l'</i><i>œ</i><i>uvre de Gustave Courbet: catalogue raisonn</i><i>é</i>. Genève: Fondation Wildenstein.
</p>

<p>
Finlay, Karen A. 2004. <i>The force of culture: Vincent Massey and Canadian sovereignty</i>. Toronto: University of Toronto Press. 
</p>

<p>
Friedlaender, Walter. 1962. "Book Review: Considerazioni sulla pittura, Vol. I". <i>The Art Bulletin.</i><i> </i>44 (2): 146-148.
</p>

<p>
Gage, Frances. 2016. <i>Painting as medicine in early modern Rome Giulio Mancini and the efficacy of art</i>. University Park, Pennsylvania: The Pennsylvania State University Press.
</p>

<p>
Galton, Francis. 1892. <i>Finger prints</i>. London: Macmillan and Co. 
</p>

<p>
Ginzburg, Carlos. ‘Morelli, Freud and Sherlock Holmes: Clues and Scientific Method’, <i>History Workshop</i>, no.9, Spring 1980. 22–23. 

</p>

<p>
Gombrich, E. H. and Fritz Saxl. 1970. <i>Aby Warburg: an intellectual biography</i>. London: The Warburg Institute.
</p>

<p>
Grotius, Hugo, and A. C. Campbell. 1901. <i>The rights of war and peace: including the law of nature and of nations</i>. New York: M.W. Dunne.
</p>
  `,
  bibliography3: `
<p>
Heckscher, William S. 1974. "Petites perceptions: an account of sortes Warburgianae". <i>The Journal of Medieval and Renaissance Studies / Duke University.</i><i> </i>101-132.
</p>

<p>
Hopkins, Anthony, Ian Richardson, and John Glenister. 1992. <i>Blunt: the fourth man.</i> EDDE Entertainment. Film.
</p>

<p>
Johnson, Christopher D. 2012. <i>Memory, metaphor, and Aby Warburg's Atlas of images</i>. Ithaca, N.Y.: Cornell University Press. 
</p>

<p>
Jones, S. Rees. 1960. “Notes on Radiographs of Five Paintings by Poussin.”<i> The Burlington Magazine / Ed. Benedict Nicolson.</i><i> </i>304-308
</p>

<p>
Kaye, George W.C. <i>The Practical Applications of X-rays</i>, London: Chapman & Hall, 1922.
</p>

<p>
Keblusek, Marika, and Badeloch Noldus. 2011. <i>Double agents: cultural and political brokerage in early modern Europe</i>. Leiden: Brill.
</p>

<p>
Kinsella, Eileen. 2016. “Billionaire Collector Dmitry Rybolovlev Wins Right to Hold Yves Bouvier Trial in Singapore”. <i>artnet news</i>, March 30. Online.
</p>

<p>
Klein, Jerome. <i>The Art Bulletin</i> 19, no. 2 (1937): 314-17. 
</p>

<p>
Knight, Sam. 2016. "The Bouvier Affair: an art-world insider's controversial methods". <i>The</i> <i>New Yorker.</i><i> </i>(Feb 08): 62-71.
</p>

<p>
Lacan, Jacques. 1966. “The Purloined Letter” <i>Ecrits</i>. Paris: Editions du Seuil.
</p>

<p>
Lamster, Mark. 2009. “The Art of Diplomacy.”<i> Wall Street Journal</i>. Oct 10. 
</p>

<p>
Lamster, Mark. 2009. <i>Master of shadows: the secret diplomatic career of the painter Peter Paul Rubens. </i>New York: Nan A Talese/Doubleday.
</p>

<p>
Lewis, Lesley. 1961. <i>Connoisseurs and secret agents in eighteenth century Rome</i>. London: Chatto & Windus.
</p>

<p>
Mahon,Denis. 1960. “Poussin's Early Development: An Alternative Hypothesis.”<i> The Burlington Magazine / Ed. Benedict Nicolson.</i><i> </i>288-301.
</p>

<p>
McCorkell, Andrew. 2011. “It's so Surreal... the artist who forged himself.” <i>The Independent</i>, Saturday 11. Online. 
</p>

<p>
Nelson, Christine M. 1988. <i>"Opening" Pandora's Box: The Status of the Diplomatic Bag in International Relations</i>, 12 Fordham Int'l L.J. 494-520.
</p>

<p>
Nicholson, Luke David. 2011. <i>Anthony Blunt and Nicolas Poussin: A Queer Approach</i>. Unpublished PhD thesis, Concordia University, Montréal.
</p>

<p>
Padfield, Joseph, David Saunders, John Cupitt and Robert Atkinson. 2002. “Improvements in the Acquisition and Processing of X-ray Images of Paintings.” <i>National Gallery technical bulletin. </i>London: National Gallery Publications.
</p>

<p>
Panofsky, Erwin. 1955. <i>Meaning in the Visual Arts: Papers in and on Art History</i>. NY: Doubleday.
</p>

<p>
Penrose, Barrie, and Simon Freeman. 1986. <i>Conspiracy of silence: the secret life of Anthony Blunt</i>. London: Grafton.
</p>
  `,
  bibliography4: `
<p>
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</p>

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</p>

<p>
Simpson, Leitch, and Knightly. 1979. “Blunt was Emissary for King George VI,” <i>The Sunday Times</i> (London), 25 November. 
</p>

<p>
Stankievech, Charles. 2016. “CounterIntelligence: A Glossary of Doubled Agency.” <i>Afterall: A Journal of Art, Context and Enquiry</i> 42: 132-43.
</p>

<p>
Steefel, Lawrence D. 1975. "A neglected shadow in Poussin's Et in Arcadia Ego”. <i>The Art Bulletin </i>57:<i> </i>99-101.
</p>

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</p>

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</p>

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</p>

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</p>
  `,
};