Re-Framing the Non-Human Animal in Art Production
Re-Framing the Non-Human Animal in Art Production is a practice based research project within the field of Critical Animal Studies. This means that this project is interdisciplinary with one foot in the field of contemporary art and the other in the field of Critical Animal Studies. The research takes place at the Centre for Human Animal Studies (CfHAS) at Edge Hill University, UK, and is conducted part-time through the Post Graduate Research Study Program. During this process, I will be based in Malmö, Sweden.
A Short Introduction
The research project Re-Framing the Non-Human Animal in Art Production is divided into two closely linked parts. The first part, will explore how non-human animals are framed within both cultural and physical frames and investigate ways of challenging these frames through artistic practice while re-drawing, re-sizing and re-writing classical oil paintings in which non-human animals participate. In this process, anthropomorphism will be used as a tool for imagining new readings and voices from the non-human animals who are visually represented in the oil paintings, but also the ones that are hidden in the materiality of the artwork.
The second part will investigate the possibilities of a contemporary vegan art practice and what consequences such a practice could have for my own art production and co-workers involved in the process. The focus of this development will be to make the animal lives and bodies that are used in art production go from invisible to visible, to be accounted for and finally that the transformation of living beings into art material is ended.
Through the entire process this research project will be informed by Critical Animal Studies, which means that it will put the non-human animal in the centre of the project by investigating the consequences art production can have on the lives of non-human animals forced into the system of art production. Therefore, I will not so much focus on the symbolic meanings of non-human animals in art history, but rather focus on, and make visible, how non-human animals bodies are hidden within the materiality of art production and how this affect the actual life of animals.
EvaMarie Lindahl, January 2017
CHAPTER ONE: Isaac van Amburgh and his Animals
The supervisory team consist of
Claire Parkinson is a Professor of Film, Television and Digital Media and Co-Director of the Centre for Human Animal Studies (CfHAS). Her research interests focus on media, film and Animal Studies; sustainable consumption; eco-media; American cinema; activism; and, film and politics.
Her publications (as Claire Molloy) include the books Popular Media and Animals (2011) and Memento (2010) and the edited collections Routledge Companion to Cinema and Politics (2016), American Independent Cinema: Indie, Indiewood and Beyond (2012) and Beyond Human: From Animality to Transhumanism (2012). Her forthcoming monograph (as Claire Parkinson) is Another Point of View: Anthropomorphism and Animals (2017).
Clarie Parkinson –>
Dr Richard Twine is a Senior Lecturer in Social Sciences and Co-Director of the Centre for Human Animal Studies (CfHAS). His research interests take place at the nexus of gender studies, human/animal relations, science studies and environmental Sociology. Much current research focuses upon the issue of sustainable food transitions in the context of climate change.
Richard is the author of the book Animals as Biotechnology – Ethics, Sustainability and Critical Animal Studies (Routledge, 2010), and co-editor, with Nik Taylor of Flinders University, Australia, of The Rise of Critical Animal Studies – From the Margins to the Centre (Routledge Advances in Sociology, 2014). He has published many articles and chapters on issues as diverse as veganism, antibiotics, ecofeminism, intersectionality, posthumanism, bioethics and physiognomy.
Richard Twine –>
Mark Wilson is a Professor and researcher in Fine Art involved with undergraduate and postgraduate Fine Art students, PhD candidates at the Department of Arts and Humanities at the University of Cumbria. The scope of interest in his artistic work spans Art and Ecology, Socially Engaged and Site-Specific Art and Art and Science. Since 2001 he has worked collaboratively with Icelandic artist Bryndís Snæbjörnsdóttir, building an international practice based on the complexity of human relationships to environment. Together they have developed major projects in UK, Europe, Australia and the USA.
Mark Wilson –>
Victor Merriman is a Professor of Critical Performance Studies at Edge Hill University and the Director of Research in the Department of Performing Arts, he also leads the Performance and Civic Futures research group. Merriman holds degrees from the National University of Ireland, the University of Southampton , and Staffordshire University.
Professor Merriman is the author of articles and book chapters on post-colonialism and late twentieth-century Irish theatre, and contributing editor of two Special Issues of the online journal Kritika Kultura: Radical Theatre and Ireland and Performance and Domination. He is a member of the Editorial Advisory Board of Cambridge Scholars Press, and the International Advisory Board of Perspectives in the Arts and Humanities Asia, a board member of the Liverpool Irish Festival, and a member of National Council of the British Association of Irish Studies.
Victor Merriman –>
Featured image of the painting The Horse Fair by artist Rosa Bonheur