- FOLLOWING MATERIALITY283
- D. Cottington 2004, Cubism and Its Histories (Manchester: Manchester University
Press), 186. - T. P. Brockelman 2001, The Frame and the Mirror: On Collage and the Postmodern
(Evanston: Northwestern University Press), 1–16. - C. Poggi 1993, In Defiance of Painting: Cubism, Futurism and the Invention of Collage
(London: Yale University Press). - de Duve 1984.
- Ibid., 107.
- Ibid., 110.
- R. Broglio 2011, Surface Encounters: Thinking with Animals and Art (Minneapolis:
University of Minnesota Press). - Ibid., xvi.
- R. Descartes 1637, Discourse on the Method (New York: Cosimo, 2008).
- Broglio 2011:xvii.
- Ibid.
- H. Foster 1996, The Return of the Real (Cambridge: MIT Press), 11.
- Ibid., 4.
- J. Malt 2004, Obscure Objects of Desire: Surrealism, Fetishism, and Politics (Ox ford:
Oxford University Press), 2. - Ibid., 6.
- Ibid., 8.
- Ibid., 6.
- W. Benjamin 1982, The Arcades Project (Cambridge: Harvard University Press, 1999),
- Malt 2004:55.
- Ibid., 56–57.
- Foucault 1966:407–420.
- K. Oliver 2013, Animal Lessons: How They Teach Us to Be Human (New York: Colum-
bia University Press), 14. - Malt 2004:86.
- Ibid., 104.
- Ibid., 119.
- Ibid.
- Ibid., 138.
- S. Baker 2000, The Postmodern Animal (London: Reaktion), 51.
- Baker’s theorization of the postmodern animal substantially relied on Michael Fried’s
1967 influential essay “Art and Objecthood,” which predominantly revolves around mini-
mal art’s relationship to abstract painting and sculpture. On these grounds, Baker config-
ures the encounter with the postmodern animal as a confrontation between animal body
and observer’s body, thus urging a negotiation between bodies that in their awkwardness
transcends the solemnity of modernist phenomenology. Although interesting, this con-
figuration of the human/animal encounter in the gallery space is limiting. - Baker 2000:53.
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