ANTENNAE
ANTENNAE
THE JOURNAL OF NATURE
IN VISUAL CULTURE
THE JOURNAL OF NATURE IN VISUAL CULTURE
Antennae: The Journal of Nature in Visual Culture
Antennae: The Journal of Nature in Visual Culture
Antennae: The Journal of Nature in Visual Culture
Antennae: The Journal of Nature in Visual Culture
Antennae: The Journal of Nature in Visual Culture
Antennae: The Journal of Nature in Visual Culture
Antennae: The Journal of Nature in Visual Culture
Antennae: The Journal of Nature in Visual Culture
Antennae: The Journal of Nature in Visual Culture
Antennae: The Journal of Nature in Visual Culture
Antennae: The Journal of Nature in Visual Culture
PAGE 49
We are pleased to offer two special print editions, dedicated to the rise of interest in art and science collaborations. Available for a limited press run of 300 copies each, Issue #47 - Experiment and Issue #48 - Interface total almost 500 pages of full color images, essays, interviews and artist portfolios. These collections feature original contributions from authors and artists representing the vanguard of art and science.
the art and science
diptych
#47 — experiment
DONNA HARAWAY
This project is co-edited in collaboration with American artist and philosopher Jonathon Keats whose bold experiments have raised serious questions and put into practice his conviction that the world needs more “curious amateurs,” willing to explore publicly whatever intrigues them in defiance of a culture that increasingly forecloses on wonder and silos knowledge into narrowly defined areas of expertise.
AND MANY MORE
ALSO AVAILABLE : LIMITED PRINT EDITION
This issue of Antennae explores the rise of interest in art and science collaborations. Partly because of the resonance of the posthuman cyborg in the ontological turn; because of the rise of Bio Art; because of the prominence that multidisciplinarity has acquired in academia; and surely in light of our fraught relationship with our environment and climate change, the intersections between art and science have recently become more complexly de ned by new ethical, political, aesthetic, and poetic registers.
Jenny Rock and Sierra Adler | Roberta Buiani Oron Catts and Ionat Zurr | Jim Supanick Melissa Dubbin & Aaron S. Davidson | Helen J. Bullard | Liz Flyntz & Byron Rich with Marnie Benney | Carolyn Angleton | Pei-Ying Lin | Jonathon Keats | Eugenia Cheng | Margaret Wertheim | Alex May | Andy Gracie | Daniela de Paulis | Bettina Forget and Gemma Anderson
WITH CONTRIBUTIONS BY
#48 — interface
The interface emerges as an agentially charged field—it reveals itself as a productive material dimension through which our thinking, questions, and assumptions are formed, mapped, shaped, and tested. From this perspective, the interface manifests itself as an artistic material-surface—a creative and reactive field through which we modulate the bandwidth of a perceptual gap—the poetic and philosophical distance between us and the actants and systems we study. Because of its inherent agential potential, the interface is also prone to become an ethical battlefield.
Keith Armstrong | Elizabeth Atkinson | Sarah Bezan
Lee Blalock | Sougwen Chung | Anna Dumitriu Gilberto Esparza | Aki Inomata | Eduardo Kac Roger Malina | Sam Nightingale | Laura Splan Bernd Scherer | Dana Simmons | Sylvia Solakidi AndrewYang
WITH CONTRIBUTIONS BY
AVAILABLE NOW AT MAJOR ONLINE BOOKSELLERS
We are pleased to announce the publication in print of two issue dedicated to the intersection of natural history and art. Available for a limited press run of 300 copies each, Issue #49 – ‘Making Nature’ and Issue #50 – ‘Remaking Nature’ total almost 500 pages of full color images, essays, interviews and artist portfolios. These collections feature original contributions from authors and artists representing the vanguard of contemporary art.
the art and natural
history diptych
NEW LIMITED PRINT EDITION
AVAILABLE NOW AT MAJOR ONLINE BOOKSELLERS
#49 — making nature
This issue of Antennae is part of a project informed by the exhibition 'Making Nature: How We See Animals' curated by Honor Beddard at Wellcome Collection (London) in 2016-17. This first installment, 'Making Nature', looks at the construction of nature as a cultural pursuit during the nineteenth and twentieth centuries. It focuses on issues of visibility and invisibility, both cultural and ecological, to critically appraise the methodological approaches that have defined the philosophies of the discipline.
Abbas Akhavan | Bergit Arends | Marc Beattie Giovanni Aloi | Honor Beddard | Emily Eastgate Brink
Aaron Delehanty | Mario A. Di Gregorio | Mark Dion Maria P. Gindhart | Isabella Kirkland | Maria Lux Lorraine Simms | Regan Shrumm | Tamsen Young Doug Young
WITH CONTRIBUTIONS BY
Jenny Rock and Sierra Adler | Roberta Buiani Oron Catts and Ionat Zurr | Jim Supanick Melissa Dubbin & Aaron S. Davidson | Helen J. Bullard | Liz Flyntz & Byron Rich with Marnie Benney | Carolyn Angleton | Pei-Ying Lin | Jonathon Keats | Eugenia Cheng | Margaret Wertheim | Alex May | Andy Gracie | Daniela de Paulis | Bettina Forget and Gemma Anderson
WITH CONTRIBUTIONS BY
#50 — remaking nature
How can we make people care for the natural world so that they might invest in its preservation? For natural historians of the 19th century, the answer was to kill animals in order to set up gorgeous, dioramas. Today, artists are proposing many different answers to the same question, while finding innovative ways to celebrate biodiversity and promote new conceptions of the natural world at a time of unprecedented environmental crisis.
Nella Aarne | Libby Barbee | Honor Beddard
Sam Butler | Anne de Malleray | Joshua de Paiva
Paul Finnegan | Jenny Gilliam | Katerie Gladdys Michael John Gorman | David Harradine
Pierre Huyghe | Sonia Levy | Jean-Luc Nancy
Richard Pell | Anna Prizzia | Alexis Rockman
Beth Savage | Geoffrey Shamos Snæbjörnsdóttir/ Wilson | Anna Walsh | Phillip Warnell | Yuki Yamamoto
WITH CONTRIBUTIONS BY
The interface emerges as an agentially charged field—it reveals itself as a productive material dimension through which our thinking, questions, and assumptions are formed, mapped, shaped, and tested. From this perspective, the interface manifests itself as an artistic material-surface—a creative and reactive field through which we modulate the bandwidth of a perceptual gap—the poetic and philosophical distance between us and the actants and systems we study. Because of its inherent agential potential, the interface is also prone to become an ethical battlefield. Strindberg constructed his own pinhole cameras because, in his view, lenses distorted the world.
