Marketing Animals - Antennae The Journal of Nature in Visual Culture

More documents

Recommendations

Info

. Fig. 15. PETA anti-fur campaign (Image courtesy of People for the Ethical Treatment of Animals) We have shown that one particular approach to animal imagery has the potential to promote a shift in how the animal is perceived. Our aim is not to promote any one approach over others, but rather to use our findings to raise questions about how different visual cultures may affect the human-animal relationship over the long term. We suggest that animal advocacy groups, like wildlife conservation groups, could usefully examine different approaches to their visual cultures and narratives. There may be opportunities to create more productive approaches before the easy option of shocking, voyeuristic imagery beats our audience into numbness and runs out of steam, even as it continues to embed the Animal’s position as a subjugated, exploitable object in our society. Notes 1 Baker also argues that the self-consciously serious post-modern artist may fear that attempts at individualizing the animal will be read as a sentimental over-investment in the animal’s appearance, thereby undermining the perceived “seriousness” of a piece of art based on rationality with a rather distasteful indulgence in emotional content. 110 2The publishers of this application make the following comments: “We are confident this game will be a net benefit to dogs as it has been in our operating agreement from the start of this project that a portion of the proceeds go to animal rescue organizations. Further, this is a satire about the ridiculousness of dog fighting and we believe in the power of a modern media tool to educate and raise awareness of the real horrors.” Bibliography Android Market. 2011. https://market.android.com/details?id=kagegames.apps.KG_AppD1 &feature=search_result Baker, Steve. 2000. The Postmodern Animal. London: Reaktion Books. Baker, Steve. 2001. Picturing The Beast. Champaign, IL: University of Illinois Press. Barthes, Roland. 1981. Camera Lucida: Reflections of Photography. trans. Richard Howard. New York: Hill and Wang. Berger, John. 1980. About Looking. New York: Pantheon Books. Berger, Harry Jr. 1994. Fictions of the Pose: Facing the Gaze of Early Modern Portraiture. Representations 46, 87-120. Callicott, J Baird. 1992. Animal Liberation and Environmental Ethics: Back Together Again. In Hargrove, Eugene C. (ed.). The Animal Rights/Environmental Ethics Debate: The Environmental Perspective, 249-261. Albany: SUNY Press. Condit, Anne. 2010. Hope: Propaganda and the Portrait of a President. Compass – A Journal of Leadership and Service at Birmingham-Southern College XII, 16-19. Fairey, Shepard and Jennifer Gross (eds.). 2009. Art for Obama: Designing Manifest Hope and the Campaign for Change. New York: Abrams Image. Fox, Warwick. 2006. A Theory of General Ethics: Human Relationships, Nature and the Built Environment. Cambridge, MA: MIT Press, Kindle Edition. Gunnthorsdottir, Anna. 2001. Physical Attractiveness of an Animal Species as a Decision Factor for its Preservation. Anthrozoos 14(4), 204-215. Jasper, James. M. 1997. The Art of Moral Protest: Culture, Biography, and Creativity in Social Movements. Chicago: University of Chicago Press. Jasper, James M. and Jane D. Poulsen. 1995. Recruiting Strangers and Friends: Moral Shocks and Social Networks in Animal Rights and Anti-Nuclear Protests. Social Problems 42(4), 493-512. Kalof, Linda; Joe Zammit-Lucia and Jennifer Rebecca Kelly. 2011. The Meaning of Animal Portraiture in a Museum Setting: Implications for Conservation. Organization and Environment 24(2), 150-174. Kellert, Stephen R. 1997. Kinship to Mastery: Biophilia in Human Evolution and Development. Washington DC: A Shearwater Book published by Island Press. Kozloff, Max. 2007. The Theatre of the Face. New York: Phaidon Press Inc. Malamud, Randy. 1998. Reading Zoos: Representations of Animals and Captivity. New York: New York University Press. Myers, Eugene Olin. 2006. The Psychology of Photographic Imagery in Communicating Conservation. Unpublished contribution to the International League of Conservation Photographers. PETA 2011. http://www.peta.org/action/get-active-online/cruelty-onthe-internet.aspx.
Pope-Hennessy, John. 1979. The Portrait in the Renaissance: The AW Mellon Lectures in Fine Arts. Princeton, New Jersey: Princeton University Press. Regan, Tom. 2004. The Case for Animal Rights. Berkeley and Los Angeles: University of California Press. Sagoff, M. 1984. Animal Liberation and Environmental Ethics: Bad Marriage, Quick Divorce. Osgoode Hall Law Journal, 22, 297-307. Scudder, Joseph N. and Carol Bishop Mills. 2009. The Credibility of Shock Advocacy: Animal Rights Attack Messages. Public Relations Review, 35, 162-164. Singer, Peter. 1998. Interview on Start the Week, BBC Radio 4, 11 May 1998. Sontag, Susan. 2003. Regarding the Pain of Others. New York: Picador. Watt, Yvette. 2010. Art, Animals, and Ethics, In Marc Bekoff (ed.), Encyclopedia of Animal Rights and Animal Welfare, Volume 1, 77- 81. ABC-CLIO. Welch, David. 2005. Painting, Propaganda and Patriotism. History Today 55(7), 42-50. Zammit-Lucia, Joe. 2008a. First Steps: Conserving Our Environment. New York: Matte Press. Zammit-Lucia, Joe. 2008b. I AM - Musings on Animal Portraiture and Its Role as a Conservation Tool. Unpublished. www.jzlimages.com. Zammit-Lucia, Joe. 2010. Artist Statement. Unpublished. www.jzlimages.com Dr Joe Zammit-Lucia is an artist, author and independent scholar. Working at the intersection of many disciplines he explore issues relating to the relationship between how we organize human societies and our interaction with the non-human world around us. A widely recognized animal portrait artist, his work has been featured in the leading fine art photography magazines worldwide and his exhibition of photographic art entitled “Experience, Personality, Emotion” is currently touring across museums and public exhibition spaces in Europe. He is the President of WOLFoundation.org, a member of the Dean’s Advisory Board at the College of Arts and Sciences, Florida International University, and has served as Special Adviser to the Director General of the International Union for Conservation of Nature. He is a Board Member of the African Rainforest Conservancy and a Fellow of the Royal Society of Arts. Linda Kalof is Professor of Sociology and Founding Director of Michigan State University’s interdisciplinary doctoral specialization in Animal Studies (http://animalstudies.msu.edu). She has published widely in animal studies and currently edits The Oxford Handbook of Animal Studies (Oxford University Press) and The Animal Turn (Michigan State University Press). She is serving a three year appointment to the National Academy of Sciences’ National Research Council Committee to review the US wild horse and burro management program, and is co-curator of Interspecies, an exhibit on cross-species cooperation at The Gallery Project, Ann Arbor, MI. 111
Page 1 and 2:
Antennae Issue 23 - Winter 2012 ISS
Page 3 and 4:
EDITORIAL ANTENNAE ISSUE 23 T his i
Page 5 and 6:
83 Jumbo: A Capitalist Creation Sto
Page 7 and 8:
actually ethical, juridical and pol
Page 9 and 10:
A merican popular culture has quiet
Page 11 and 12:
animals represent to the audience?
Page 13 and 14:
Fig. 1. including sources such as t
Page 15 and 16:
This lack of human/penguin interact
Page 17 and 18:
gorillas were associated directly w
Page 19 and 20:
References Anderson, John R. (1990)
Page 21 and 22:
Regione Lombardia L’Agricoltura C
Page 23 and 24:
Concern about the impact of livesto
Page 25 and 26:
Ed Edwards and Dave Masterman The G
Page 27 and 28:
translates into context for the bov
Page 29 and 30:
T here seems to be some confusion r
Page 31 and 32:
P revious academic research looking
Page 33 and 34:
Leo Burnett France 500 Black Jack,
Page 35 and 36:
DDB Berlin The Golf GTI Edition 30,
Page 37 and 38:
David&Goliath Fast and Fuel Efficie
Page 39 and 40:
Kessanlv Bovril by Electrocution fr
Page 41 and 42:
progress and humanitarianism. It wa
Page 43 and 44:
Fig 1. VCCP Muller “Thank You Cow
Page 45 and 46:
Fig. 3 TBWA/Chiat/Day New York Sad
Page 47 and 48:
(Lerner and Kalof 1999), the four a
Page 49 and 50:
I often wonder what the meetings at
Page 51 and 52:
Representations of animals in adver
Page 53 and 54:
In the second section of the Wester
Page 55 and 56:
number of animal species, because i
Page 57 and 58:
2006. Image showing advertisement f
Page 59 and 60: Morrisjones & Company Unique Partne
Page 61 and 62: he same issue of the monthly magazi
Page 63 and 64: alleged Nazi dietary habits. The ma
Page 65 and 66: Fig.2. Stonyfield yogurt carton fro
Page 67 and 68: Fig. 4. & 5. The Miracle of Milk an
Page 69 and 70: Fig. 6. Down to Earth, Stonyfield F
Page 71 and 72: Fig. 8. Michael Mercil The Virtual
Page 73 and 74: Fig. 10. Michael Mercil The Virtual
Page 75 and 76: Fig. 12. Michael Mercil Michael Mer
Page 77 and 78: farming, the animals have disappear
Page 79 and 80: incorporated subsumption of Stonyfi
Page 81 and 82: Brooke’s Soap Monkey Brand Wont W
Page 83 and 84: It is tempting to take for granted
Page 85 and 86: Fig. 1. The iconic Jumbo broadside,
Page 87 and 88: Fig. 2. Funny Folks, 1882. McCaddon
Page 89 and 90: Fig. 3. Clark’s O.N.T. Spool Cott
Page 91 and 92: and claw” movies and other cultur
Page 93 and 94: (and thus all the more persuasive b
Page 95 and 96: T his ad for Armstrong tires depict
Page 97 and 98: Referring to real rhinos might have
Page 99 and 100: perpetuation of the self image of t
Page 101 and 102: The Human Portrait Portraiture is d
Page 103 and 104: Fig. 7. Joe Zammit-Lucia Hunted, ph
Page 105 and 106: Fig. 9. Animal Portraiture Exhibit
Page 107 and 108: Fig. 10. Animal farmed for his fur
Page 109: particularly highly disturbing imag
Page 113 and 114: Thinkbox Harvey, 2010 Thinkbox ent
Page 115 and 116: Y&R Chicago Welcome to the Saddest
Page 117 and 118: Y&R Chicago Welcome to the Saddest
Page 119 and 120: Jeremy Smallwood and Pam Mufson hav
Page 121 and 122: Campagne Per Gli Animali Buona Pasq
Page 123 and 124: A lready very early on in the histo
Page 125 and 126: Schwarzer Kater Garantie für gute
Page 127 and 128: Laboratories Ed. Mottier Colle M El
Page 129 and 130: PKZ Burgher, Kehl & Co, 1913 PKZ L
Page 131 and 132: Télévision Ducastel Satisfaction
Page 133 and 134: WPA Brookfield Zoo WPA ads edit ou
Page 135 and 136: displays as a modern entertainment
Page 137 and 138: into the home pest removal also con
Page 139 and 140: Fig.2 Advertisement for Mortein Plu
Page 145 and 146: centre of a large social media camp
Page 147 and 148: construct subject positions that co
Page 149: Antennae.org.uk Issue twenty-four w
show all

Marketing Animals - Antennae The Journal of Nature in Visual Culture

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?