Speculative Taxidermy

3. DIORAMAS275
   3. DIORAMAS

O. Davie 1894, Methods in the Art of Taxidermy (Philadelphia: David McKay), 129; M. Mil-
grom 2010, Still Life: Adventures in Taxidermy (Boston: Houghton Mifflin Harcourt), 54.

1. N. Mirzoeff 2014, “Visualizing the Anthropocene,” Public Culture 26, no. 2: 73,
   213–232.


2. S. Žižek 2011, Living in the End of Times (London: Verso).


3. R. Bach 1970, Jonathan Livingston Seagull (New York: MacMillan).


4. Ultimately, in its antiheroic aesthetic and its embedded narratives of destruction, sur-
   vival, gratuitous spoilage, Landfill also proposes a broader critique of past histories of
   representation. Landscape painting, a genre renowned for its tendency to beautify and
   idealize, was traditionally defined by bourgeois taste, the same taste rejected by the
   historical avant-gardes and by the neo-avant-gardes of the 1950s and 1960s. The objects
   presented as trash in Dion’s diorama are derivative of Duchampian readymades or, more
   appropriately, of Kurt Schwitters’s found objects—both of which are artistic responses to
   the unquestioned preponderance of bourgeois taste in mainstream culture.


5. R. MacKay, L. Pendrell, and J. Trafford, 2014, Speculative Aesthetics (Falmouth: Urba-
   nomic), 3.


6. H. Putnam 2016, Naturalism, Realism, and Normativity (Cambridge: Harvard University
   Press).


7. D. Outram 1996, “New Spaces in Natural History,” in N. Jardine, J. A. Secord, and E.
   C. Spary, eds., Cultures of Natural History (Cambridge: Cambridge University Press),
   251, ref. on 249.


8. T. Bennett 1988, “The Exhibitionary Complex,” New Formations, no. 4 (Spring):
   73–102.


9. Ibid., 79.


10. Ibid., 86.


11. D. J. Haraway 1984, “Teddy Bear Patriarchy: Taxidermy in the Garden of Eden, New
    York City, 1908–1936,” Social Text, no. 11 (Winter): 20–64, ref. on 40.


12. T. Bennett 1995, The Birth of the Museum: History, Theory, Politics (London: Routledge),
    59–88.


13. B. T. Gates 2007, “Introduction: Why Victorian Natural History?” Victorian Literature
    and Culture 35, no. 2: 539.


14. Ibid., 540.


15. K. Wonders 1993, Habitat Dioramas: Illusions of Wilderness in Museums of Natural
    History (Uppsala: Acta Universitatis Upsaliensis).


16. A. Stefanucci 1944, Storia del Presepio (Roma: Autocultura).


17. I. Margulies 2003, Rites of Realism: Essays on Corporeal Cinema (New York: Duke Uni-
    versity Press).


18. G. Batchen 1999, Burning with Desire: The Conception of Photography (Ca mbridge:
    MIT Press), 139–143.


19. C. Kamcke and R. Hutterer 2015, Natural History Dioramas (Berlin: Springer), 10.