M. Andrews 1999, Landscape and Western Art (Oxford: Oxford University Press), 141.
Daguerre, quoted in K. Wonders 1990, “The Illusionary Art of Background Painting in
Habitat Dioramas,” Curator: The Museum Journal 33, no. 2 (June): 90–118.
M. W. Marien 2006, Photography: A Cultural History (London: Laurence King), 11.
A. Scharf 1968, Art and Photography (London: Penguin, 1983), 13.
M. Foucault 1975a, “Photogenic Painting,” in G. Deleuze and M. Foucault, Gerard Fro-
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Scharf 1968:13.
L. Daston and P. Galison 2007, Objectivity (New York: Zone), 121.
J. Ryan 1997, Picturing Empire: Photography and the Visualization of the British Empire
(London: Reaktion), 132.
S. L. Star 1992, “Craft vs. Commodity, Mess vs. Transcendence: How the Right Tool
Became the Wrong One in the Case of Taxidermy and Natural History,” in A. E. Clark
and J. H. Fujimura, eds., The Right Tools for the Job: At Work in Twentieth-Century Life
Sciences (Princeton: Princeton University Press), 257–286.
Haraway 1984:24.
Ibid., 40.
Daston and Galison 2007:131.
M. Browne 1896, Artistic and Scientific Taxidermy and Modelling (London: A. & C.
Black), 10.
Ibid., 11.
C. Metz 1985, “Photography and Fetish,” in October 34 (Autumn): 81–90, quote on 84.
S. Sontag 1977, On Photography (London: Allen Lane), 1978, 14–15.
Ibid., 38–43.
Haraway 1984:24.
Akeley to Osborn, March 29, 1911, in J. M. Kennedy 1968, “Philanthropy and Science in
New York City: The American Museum of Natural History, 1868–1968,” PhD diss., Yale
University, 186.
C. Fisher 1927, “Carl Akeley and His Work,” in Scientific Monthly 24, no. 2: 97–118, ref.
on 101.
R. W. Shufeldt 1892, “Scientific Taxidermy for Museums,” Report of National Museum,
s.l., s.n., 369–382, 383.
Browne 1896:11.
Haraway 1984:37–38.
Ibid., 34.
Ibid., 34, 35, and 57.
Ibid., 63.
Scharf 1968:13.
M. Kemp 2000, The Oxford History of Western Art (Oxford: Oxford University Press),
66 and 218.
D. Getsy 2014, “Acts of Stillness: Statues, Performativity, and Passive Resistance,” Crit-
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