- The Oxford Handbook of Animal Studies
- Preface
- List of Contributors
- Introduction
- Animal Rights
- Animals in Political Theory
- Animals as Living Property
- The Human-Animal Bond
- Animal Sheltering
- Roaming Dogs
- Misothery: Contempt for Animals and Nature, Its Origins, Purposes, and Repercussions
- Continental Approaches to Animals and Animality
- Animals as Legal Subjects
- The Struggle for Compassion and Justice through Critical Animal Studies
- Interspecies Dialogue and Animal Ethics: The Feminist Care Perspective
- Cetacean Cognition
- History and Animal Agencies
- What Was It Like to Be a Cow?: History and Animal Studies
- Animals as Sentient Commodities
- Animal Work
- Animals as Reflexive Thinkers: The Aponoian Paradigm
- The Ethics of Animal Research: Theory and Practice
- The Ethics of Food Animal Production
- Animals as Scientific Objects
- The Problem with Zoos
- Wolf Hunting and the Ethics of Predator Control
- Practice and Ethics of the Use of Animals in Contemporary Art
- Animals in Folklore
- Archaeozoology
- Animals and Ecological Science
- Staging Privilege, Proximity, and “Extreme Animal Tourism”
- Commensal Species
- Lively Cities: People, Animals, and Urban Ecosystems
- Animals in Religion
- Index
Abstract and Keywords
Contemporary art has entered a stage where the animal has been degraded to the status of mere artistic material. Dehumanization, sensationalism, and the provision of moral cover by powerful art institutions are the three components of the culture of contemporary art ensuring that the moral considerability of the animal merits little serious discussion. The views of those concerned with animal welfare are pitted against those who see freedom of artistic expression as untouchable. The result is a sterile debate between polarized and irreconcilable positions. Cultural norms are changing and will likely result in changes in the culture of contemporary art. While formal censorship approaches are unlikely to be either acceptable or effective, there are opportunities for institutional changes that give the ethics of artists’ use and misuse of animals a seat at the table in the mainstream art world.
Keywords: animal studies, animals, contemporary art, ethics, moral considerability, censorship, freedom of artistic expression, dehumanization, sensationalism
Joe Zammit-Lucia, Animal Portraiture Artist and President, Web of Life (WOLF) Foundation
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- The Oxford Handbook of Animal Studies
- Preface
- List of Contributors
- Introduction
- Animal Rights
- Animals in Political Theory
- Animals as Living Property
- The Human-Animal Bond
- Animal Sheltering
- Roaming Dogs
- Misothery: Contempt for Animals and Nature, Its Origins, Purposes, and Repercussions
- Continental Approaches to Animals and Animality
- Animals as Legal Subjects
- The Struggle for Compassion and Justice through Critical Animal Studies
- Interspecies Dialogue and Animal Ethics: The Feminist Care Perspective
- Cetacean Cognition
- History and Animal Agencies
- What Was It Like to Be a Cow?: History and Animal Studies
- Animals as Sentient Commodities
- Animal Work
- Animals as Reflexive Thinkers: The Aponoian Paradigm
- The Ethics of Animal Research: Theory and Practice
- The Ethics of Food Animal Production
- Animals as Scientific Objects
- The Problem with Zoos
- Wolf Hunting and the Ethics of Predator Control
- Practice and Ethics of the Use of Animals in Contemporary Art
- Animals in Folklore
- Archaeozoology
- Animals and Ecological Science
- Staging Privilege, Proximity, and “Extreme Animal Tourism”
- Commensal Species
- Lively Cities: People, Animals, and Urban Ecosystems
- Animals in Religion
- Index
