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Surface Encounters: Plates

Surface Encounters
Plates

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Notes

table of contents
  1. Cover
  2. Halftitle Page
  3. Series List
  4. Title Page
  5. Copyright Page
  6. Dedication
  7. Epigraph
  8. Contents
  9. Acknowledgments
  10. Introduction: Staying on the Surface
  11. 1. Meat Matters Distance in Damien Hirst
  12. 2. Body of Thought Immanence and Carolee Schneemann
  13. 3. Making Space for Animal Dwelling Worlding with Snæbjörnsdóttir/Wilson
  14. 4. Contact Zones and Living Flesh Touch after Olly and Suzi
  15. 5. A Minor Art Becoming-Animal of Marcus Coates
  16. Coda: Human, Animal, and Matthew Barney
  17. Notes
  18. Index
  19. Author Biography
  20. Plates

Plates

A cluttered storage area with a vacuum cleaner, wicker basket, shoes, and various household items.

Plate 1. Snæbjörnsdóttir/Wilson, Jóra, from (a)fly, Lambda print, 2005.

A museum exhibit featuring taxidermy polar bears displayed in glass cases within a spacious, well-lit gallery.

Plate 2. Snæbjörnsdóttir/Wilson, nanoq: flat out and bluesome, installation at Spike Island, Bristol, 2004. Photograph by Woodley & Quick.

A cluttered attic space with various vintage items, including a bicycle, a rocking horse, and a taxidermy polar bear head.

Plate 3. Snæbjörnsdóttir/Wilson, Halifax, Eureka Museum for Children, Halifax, from nanoq: flat out and bluesome, Lambda print, 2004.

Four cheetahs in a dry, grassy landscape examine a large piece of paper on the ground, which features abstract artwork resembling cheetah patterns.

Plate 4. Olly and Suzi, Cheetahs, 1998. Photograph by Olly and Suzi of their work, Five Cheetahs. Courtesy of Olly and Suzi.

A series of three pictures shows a shark approaching, biting, and bending a painted board floating on water, with splashes.

Plate 5. Greg Williams, Shark I, Shark II, Shark III, 1997. Photograph of Olly and Suzi’s Shark Bite. Courtesy of Olly and Suzi.

A surreal artwork featuring a butterfly, vultures, and a hyena with visible skeletal and muscular structures.

Plate 6. Olly and Suzi, Fisi, aquarelle and oil stick, 2006. Courtesy of Olly and Suzi.

Marcus Coates wearing a deer head costume performs theatrically in front of an audience seated in a small room.

Plate 7. Marcus Coates, Journey to the Lower World, 2004. Video. Photograph by Nick David. Courtesy of the artist and Kate MacGarry, London.

A collage of individuals in various settings, each engaged in different activities or moments of reflection.

Plate 8. Marcus Coates, Dawn Chorus, 2007. Stills from the videos. Courtesy of the artist and Kate MacGarry, London.

Annotate

Previous
The open access edition of this book has been generously supported by Arizona State University.

Chapter 1 was previously published as “Meat Matters from Hegel to Hirst,” Antennae: Journal of Nature in Visual Culture 14 (Winter 2010): 58–71. Chapter 3 was previously published as “Making Space for Animal Dwelling,” in (a)fly (Between Nature and Culture), ed. Bryndis Snæbjörnsdóttir and Mark Wilson (Reykjavik: National Museum of Iceland, 2006), 21–27. Chapter 4 was previously published as “‘Living Flesh’: Human Animal Surfaces and Art,” Journal of Visual Culture 7, no. 1 (April 2008): 103–21, and as “‘Living Flesh’: Human Animal Surfaces and Art,” in Animals and the Human Imagination, ed. Aaron Gross and Anne Vallely (New York: Columbia University Press, 2011); copyright 2011 Columbia University Press; reprinted with permission of the publisher.

Translation of “The Eighth Elegy” in Duino Elegies (1922) by Rainer Maria Rilke reproduced courtesy of A. S. Kline.

Printed transcript from “Up to and Including Her Limits” by Carolee Schneemann reproduced courtesy of the artist.

Copyright 2011 by the Regents of the University of Minnesota

Surface Encounters: Thinking with Animals and Art is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0).
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