Open Access. Powered by Scholars. Published by Universities.®
- Discipline
-
- Art Practice (1)
- Art and Design (1)
- Biodiversity (1)
- Contemporary Art (1)
- Continental Philosophy (1)
-
- Feminist Philosophy (1)
- History of Art, Architecture, and Archaeology (1)
- Indigenous Studies (1)
- Interdisciplinary Arts and Media (1)
- Lesbian, Gay, Bisexual, and Transgender Studies (1)
- Life Sciences (1)
- Museum Studies (1)
- Other Arts and Humanities (1)
- Other Film and Media Studies (1)
- Other Philosophy (1)
- Philosophy (1)
- Race, Ethnicity and Post-Colonial Studies (1)
- Sculpture (1)
- Theory and Criticism (1)
- Women's Studies (1)
- Institution
Articles 1 - 2 of 2
Full-Text Articles in Visual Studies
Un/Dead Animal Art: Ethical Encounters Through Rogue Taxidermy Sculpture, Miranda Niittynen
Un/Dead Animal Art: Ethical Encounters Through Rogue Taxidermy Sculpture, Miranda Niittynen
Electronic Thesis and Dissertation Repository
Beginning in 2004, the Minnesota Association of Rogue Taxidermists began an art movement of taxidermied animal sculptures that challenged conventional forms of taxidermied objects massively produced and displayed on an international scale. In contrast to taxidermied ‘specimens’ found in museums, taxidermied ‘exotic’ wildlife decapitated and mounted on hunters' walls, or synthetic taxidermied heads bought in department stores, rogue taxidermy artists create unconventional sculptures that are arguably antithetical to the ideologies shaped by previous generations: realism, colonialism, masculinity. As a pop-surrealist art movement chiefly practiced among women artists, rogue taxidermy artists follow an ethical mandate to never kill animals for the …
"It Came In Little Waves": Feminist Imagery In Chantal Akerman's Je, Tu, Il, Elle +, Staci C. Dubow
"It Came In Little Waves": Feminist Imagery In Chantal Akerman's Je, Tu, Il, Elle +, Staci C. Dubow
Honors Theses
Chantal Akerman writes, “she who seeks shall find, find all too well, and end up clouding her vision with her own preconceptions.”[1] This thesis addresses the films of Chantal Akerman from a theoretical feminist film perspective. There are many lenses through which Akerman’s rich body of work can be viewed, and I would argue that she herself never intended for it to be understood in just one way. I wish to situate Akerman’s films, in particular her 1974 Je, Tu, Il, Elle (1h 30m), within a discourse of other feminist film theorists and makers that were further rooted in …