Speculative Taxidermy

2804. THE END OF THE DAYDREAM

31. M. Foucault 1983, This Is Not a Pipe (Berkeley: University of California Press), 43–52.


32. Ibid., 46.


33. Foucault 1966:176–177.


34. Ibid., 177.


35. Foucault 1983:44.


36. Foucault formulated these separately, but in this chapter they are linked for the pur-
    pose of mapping the work of aesthetic economies of nonaffirmation in rethinking our
    modes of perception


37. Foucault 1983:29.


38. Ibid., 17.


39. Ibid., 30.


40. Foucault and Bourriaud 1971/2009:92.


41. Ibid., 93.


42. M. Foucault 1975a, “Photogenic Painting,” in G. Deleuze and M. Foucault, Gerard Fro-
    manger: La Peinture Photogénique (London: Black Dog, 1999), 93.


43. Foucault outlined four fundamental categories of ways in which a photograph can pro-
    pose nonaffirmation: (1) by applying paint on the photographic surface, (2) by capturing
    out-of-focus, disappearing objects, (3) by writing words on the photographic surface,
    and (4) by employing irony, which entails the frustration of linear narrative (ibid., vi.).
    Dead Owl by Roni Horn markedly belongs to the category of irony. Horn does not blur
    her images in an attempt to defy the affirmative work of quattrocento painting. In
    essence, Dead Owl, like many of her other diptychs, enacts nonaffirmative and chal-
    lenging relationships with the viewer through an exacerbation of the intermingling of
    similitude and resemblance within the photographic idiom.


44. R. Horn 2008, Bird (Zurich: Steidl Hauser & Wirth).


45. R. Barthes 1980, Camera Lucida (New York: Hill and Wang), 89.


46. Sontag 1977.


47. Foucault 1983.


48. Ibid., 30.


49. Foucault 1983:49.


50. Ibid., 10.


51. Ibid.


52. H. B. Werness 2006, The Continuum Encyclopaedia of Animal Symbolism in Art (New
    York: Continuum).


53. Berger 1980:28.


54. B. Viola, dir., 1986, I Do Not Know What It Is I Am Like [film] (Quantum Leap).


55. C. Hourihane, ed., 2012, The Grove Encyclopedia of Medieval Art and Architecture, vol.
    2 (Oxford: Oxford University Press), 298–299.


56. N. Armstrong 2010, “Realism Before and After Photography,” in M. Beaumont, ed., A
    Concise Companion to Realism (London: Wiley-Blackwell), 102–120, ref. on 109.


57. J. Akeley 1929, Carl Akeley’s Africa (New York: Blue Ribbon), 37.


58. Besides the very influential section of his text dedicated to Magritte’s The Treachery of
    Images, Foucault focused on a number of works by the artist in which the same image