Speculative Taxidermy

168FOLLOWING MATERIALITY the immanence of death,^12 whereas psychoanalysis focused on the rela- tions between representation an ...

FOLLOWING MATERIALITY169 radio. During this period, the status of the animal itself began to change at the very point that anim ...

170FOLLOWING MATERIALITY structures could be imposed.^18 Both media provided parameters through which the human could self-cons ...

FOLLOWING MATERIALITY171 on the reversal of the logistics of animal disassembly through the work- ing of endless cycles of visu ...

172FOLLOWING MATERIALITY of image production and consumption, running very popular abattoir tours. Interestingly, both processe ...

FOLLOWING MATERIALITY173 through the display of animal skin as the preponderant signifying sur- face element.^28 Rather importa ...

174FOLLOWING MATERIALITY about realism and the conditions that different notions of realism impose on human/animal relations. A ...

FOLLOWING MATERIALITY175 patriarchal epistemic structures. Taking the materiality of works of art seriously can therefore chall ...

176FOLLOWING MATERIALITY proposal of an even more radical ontological collapse of resemblance upon itself. In a compelling argu ...

FOLLOWING MATERIALITY177 ject further problematized the economy of materiality and surfaces initi- ated by cubism. Duchamp’s in ...

178FOLLOWING MATERIALITY points in art lies in the criticality that artists develop in their relationships with surfaces. Altho ...

FOLLOWING MATERIALITY179 The second took place in 1936, at the Charles Ratton Gallery. The gal- lery specialized in primitive a ...

180FOLLOWING MATERIALITY state. The awakening Benjamin finds in surrealist works thus involves an essential notion of agency gr ...

PLATE 1. Snæbjörnsdóttir/Wilson, between you and me. Installation view featuring the naming of things, 2009. © Snæbjörnsdóttir/W ...

PLATE 2. Mark Fairnington, Tu ra c o G r e e n L a d y, 2011. Oil and gold leaf on panel. 80 × 56 cm. © Fairnington. ...

PLATE 3. Mark Dion and Robert Williams, Theatrum mundi: Armanium, 2001. Wooden cabinet, mixed media. 110 2/3 × 110 3/7 × 24 4/5 ...

PLATE 4. Mark Dion, Landfill, 1999–2000. Mixed media. 71 1/2 × 147 1/2 × 64 inches; 181.6 × 374.7 × 162.6 cm. Courtesy of the ar ...

PLATE 5. Oleg Kulik, “Monkeys,” from the Museum of Nature or New Paradise series, 2000–2001. © Kulik. ...

PLATE 6. Roni Horn, Bird (detail), 1998/2007. Iris and pigment printed photographs on Somerset Satin paper. 22 × 22 inches; 55.9 ...

PLATE 7. Robert Rauschenberg, Monogram, 1955–59. Combine: oil, paper, fabric, printed paper, printed reproductions, metal, wood, ...