Explores how human beings use animals and images of animals to define themselves--and how those depictions interfere with our abilities to understand the true nature of animals.
Animals have always been compelling subjects for artists, but the rise of animal advocacy and posthumanist thought has prompted a reconsideration of the relationship between artist and animal. In this book, Steve Baker examines the work of contemporary artists who directly confront questions of animal life, treating animals not for their aesthetic qualities or as symbols of the human condition but rather as beings who actively share the world with humanity. The concerns of the artists presented in this book—Sue Coe, Eduardo Kac, Lucy Kimbell, Catherine Chalmers, Olly and Suzi, Angela Singer, Catherine Bell, and others—range widely, from the ecological to the philosophical and from those engaging with the modification of animal bodies to those seeking to further the cause of animal rights. Drawing on extensive interviews he conducted with the artists under consideration, Baker explores the vital contribution that contemporary art can make to a broader conception of animal life, emphasizing the importance of creativity and trust in both the making and understanding of these artworks. Throughout, Baker is attentive to issues of practice, form, and medium. He asks, for example, whether the animal itself could be said to be the medium in which these artists are working, and he highlights the tensions between creative practice and certain kinds of ethical demands or expectations. Featuring full-color, vivid examples of their work, Artist Animal situates contemporary artists within the wider project of thinking beyond the human, asserting art’s power to open up new ways of thinking about animals.
In The Postmodern Animal, Steve Baker explores how animal imagery has been used in modern and contemporary art and performance, and in postmodern philosophy and literature, to suggest and shape ideas about identity and creativity. Baker cogently analyses the work of such European and American artists as Olly and Suzi, Mark Dion, Paula Rego and Sue Coe, at the same time looking critically at the constructions, performances and installations of Robert Rauschenberg, Louise Bourgeois, Joseph Beuys and other significant late twentieth-century artists. Baker's book draws parallels between the animal's place in postmodern art and poststructuralist theory, drawing on works as diverse as Jacques Derrida's recent analysis of the role of animals in philosophical thought and Julian Barnes's best-selling Flaubert's Parrot.
The wolf has long been a part of the landscape of children's literature. Mitts-Smith analyzes visual images of the wolf in children's books published in Western Europe and North America from 1500 to the present.
Smart, bookish Belle, a captive in the Beast's castle, has become accustomed to her new home and has befriended its inhabitants. When she comes upon Nevermore, an enchanted book unlike anything else she has seen in the castle, Belle finds herself pulled into its pages and transported to a world of glamour and intrigue. The adventures Belle has always imagined, the dreams she was forced to give up when she became a prisoner, seem within reach again. The charming and mysterious characters Belle meets within the pages of Nevermore offer her glamorous conversation, a life of dazzling Parisian luxury, and even a reunion she never thought possible. Here Belle can have everything she ever wished for. But what about her friends in the Beast's castle? Can Belle trust her new companions inside the pages of Nevermore? Is Nevermore's world even real? Belle must uncover the truth about the book, before she loses herself in it forever.
In What Are the Animals to Us? scholars from a wide variety of academic disciplines explore the diverse meanings of animals in science, religion, folklore, literature, and art.
Here, Jay Ruby—a founder of visual anthropology—distills his thirty-year exploration of the relationship of film and anthropology. Spurred by a conviction that the ideal of an anthropological cinema has not even remotely begun to be realized, Ruby argues that ethnographic filmmakers should generate a set of critical standards analogous to those for written ethnographies. Cinematic artistry and the desire to entertain, he argues, can eclipse the original intention, which is to provide an anthropological representation of the subjects. The book begins with analyses of key filmmakers (Robert Flaherty, Robert Garner, and Tim Asch) who have striven to generate profound statements about human behavior on film. Ruby then discusses the idea of research film, Eric Michaels and indigenous media, the ethics of representation, the nature of ethnography, anthropological knowledge, and film and lays the groundwork for a critical approach to the field that borrows selectively from film, communication, media, and cultural studies. Witty and original, yet intensely theoretical, this collection is a major contribution to the field of visual anthropology.
With more than 130 illustrations, The Photographed Cat: Picturing Close Human-Feline Ties, 1900–1940 is both an archive and an analytical exploration of the close relationships between Americans and their cats during a period that is significant for photography and for modern understandings of animals as pets. This volume examines the cultural implications of feline companions while also celebrating the intimacy and joys of pets and family photographs. In seven thematic sections, Arluke and Rolfe engage with the collection of antique images as representations of real relationships and of ideal relationships, noting the cultural trends and tropes that occur throughout this increasingly popular practice. Whether as surrogate children, mascots, or companions to women, cats are part of modern American life and visual culture. Entertaining, smart, and filled with a collector’s trove of wonderful images, The Photographed Cat pays homage to the surprising range of relationships we have with cats and offers thoughtful consideration of the ways in which we represent them.
Historisch overzicht van het Amerikaanse prentenboek met vele, dikwijls verkleinde illustraties. Bevat gegevens over illustratoren, auteurs, uitgevers, ontwerpers, drukkers en druktechnieken
Bogdan and his collaborators have studied thousands of historical photographs of people with disabilities in writing this book. Their work shows how people with disabilities have been presented but in a much wider range than we have ever seen before.