From<i>Dead Meat</i>to Glow in the Dark Bunnies Seeing “the Animal Question” in Contemporary Art

摘要

Click to increase image sizeClick to decrease image size Notes 1. Jacques Derrida, ‘The Animal That Therefore I Am (More To Follow)’, trans. David Wills, Critical Inquiry 28: 2 (2002), pp.369–418. For the most thorough overview we have of animals in contemporary art, see Steve Baker, The Postmodern Animal (London: Reaktion, 2000). 2. Slavoj Žizek, The Metastases of Enjoyment: Six Essays on Woman and Causality (London: Verso, 1994), p.202. 3. Sue Coe, Dead Meat, intro. by Alexander Cockburn, foreword by Tom Regan (New York: Four Walls Eight Windows, 1995), p.v. 4. Jacques Derrida, ‘“Eating Well”, or, the Calculation of the Subject’, in Who Comes After the Subject?, ed. by Eduardo Cadava, Peter Connor, and Jean‐Luc Nancy (New York: Routledge, 1991), pp.112–13. I have discussed the Derrida/Levinas difference on this point in some detail in my essay ‘In the Shadow of Wittgenstein’s Lion: Language, Ethics, and the Question of the Animal’, in Zoontologies: The Question of the Animal, ed. by Cary Wolfe (Minneapolis: University of Minnesota Press, 2003), pp.1–57, esp. pp.17–18 and 23–28. Also available as the second chapter of Cary Wolfe, Animal Rites: American Culture, The Discourse of Species, and Posthumanist Theory, foreword W. J. T. Mitchell (Chicago: University of Chicago Press, 2003). pp.44–94. Both books are reviewed in this issue. 5. Jacques Derrida, ‘The Animal That Therefore I Am’, p.380. 6. Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi (Minneapolis, MN; University of Minnesota Press, 1987), pp.167–91. See also my Animal Rites, pp.227–28, n.1 and Alphonso Lingis's essay ‘Animal Body, Inhuman Face’, in Zoontologies, ed. by Cary Wolfe, pp.165–182. 7. Michael Fried, Realism, Writing, Disfiguration: On Thomas Eakins and Stephen Crane (Chicago: University of Chicago Press, 1987). 8. Michael Fried, Realism, Writing, Disfiguration, p.114. 9. Michael Fried, Realism, Writing, Disfiguration, p.99. 10. Michael Fried, Realism, Writing, Disfiguration, p.99. 11. Michael Fried, Realism, Writing, Disfiguration, p.100. 12. Michael Fried, Realism, Writing, Disfiguration, pp.119–20. 13. Michael Fried, Realism, Writing, Disfiguration, pp.120–21. 14. Michael Fried, Realism, Writing, Disfiguration, p.99. 15. See my discussion of this point in Freud in Animal Rites, pp.2–3 and 108–16. 16. The phrase ‘carnophallogocentrism’ belongs, of course, to Derrida in the interview ‘Eating Well’. For a by‐now classic analysis of this process of production and renaming, which is also concerned with its phallocentrism, see Carol J. Adams, The Sexual Politics of Meat (New York: Continuum, 1990). 17. Fried invokes Derrida in Realism, Writing, Disfiguration, p.163 n.1 and p.185 n.28. 18. Michael Fried, Realism, Writing, Disfiguration, p.59. I use the term ‘melodrama’ in the sense that has some centrality to Fried's body of criticism and its fundamental contrast of ‘theatricality’ (or ‘literalism’) and ‘opticality’ (or ‘absorption’). 19. See Fried's discussion in ‘An Introduction to My Art Criticism’, in Art and Objecthood: Essays and Reviews (Chicago: University of Chicago Press, 1998), p.40. 20. Michael Fried, Realism, Writing, Disfiguration, p.59. 21. Michael Fried, Realism, Writing, Disfiguration, p.59. 22. Michael Fried, Realism, Writing, Disfiguration, p.62. 23. Michael Fried, Realism, Writing, Disfiguration, pp.64–65. 24. Michael Fried, Realism, Writing, Disfiguration, p.88. 25. Jacques Derrida, ‘Afterword’, Limited Inc, ed. by Gerald Graff (Chicago: Northwestern University Press), p.116. 26. W. J. T. Mitchell, What Do Pictures Want?: The Lives and Loves of Images (Chicago: University of Chicago Press, 2005), p.25. 27. I refer to Derrida's essay ‘And Say the Animal Responded?’, trans. David Wills, in Zoontologies, ed. by Cary Wolfe, pp.121–46. See in particular pp.137–38. 28. Jacques Derrida, ‘Eating Well’, pp.116–17. 29. Jacques Derrida, ‘Eating Well’, p.114. 30. Eduardo Kac, Telepresence and Bio