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dc.contributor.authorMagazzeni, Carina
dc.contributor.otherQueen's University (Kingston, Ont.). Theses (Queen's University (Kingston, Ont.))en
dc.date2016-09-21 18:55:47.945en
dc.date.accessioned2016-09-23T18:52:28Z
dc.date.issued2016-09-23
dc.identifier.urihttp://hdl.handle.net/1974/14960
dc.descriptionThesis (Master, Cultural Studies) -- Queen's University, 2016-09-21 18:55:47.945en
dc.description.abstractThe exhibition, The Map of the Empire (30 March – 6 May, 2016), featured photography, video, and installation works by Toronto-based artist, Brad Isaacs (Mohawk | mixed heritage). The majority of the artworks within the exhibition were produced from the Canadian Museum of Nature’s research and collections facility (Gatineau, Québec). The Canadian Museum of Nature (CMN), is the national natural history museum of (what is now called) Canada, with its galleries located in Ottawa, Ontario. The exhibition was the first to open at the Centre for Indigenous Research Creation at Queen’s University under the supervision of Dr. Dylan Robinson. Through the installment of The Map of the Empire, Isaacs effectively claimed space on campus grounds – within the geopolitical space of Katarokwi | Kingston – and pushed back against settler colonial imaginings of natural history. The Map of the Empire explored the capacity of Brad’s artistic practice in challenging the general belief under which natural history museums operate: that the experience of collecting/witnessing/interacting with a deceased and curated more-than-human animal will increase conservation awareness and facilitate human care towards nature. The exhibition also featured original poetry by Cecily Nicholson, author of Triage (2011) and From the Poplars (2014), as a response to Brad’s artwork. I locate the work of The Map of the Empire within the broader context of curatorship as a political practice engaging with conceptual and actualized forms of slow violence, both inside of and beyond the museum space. By unmapping the structures of slow, showcased and archived violence within the natural history museum, we can begin to radically transform and reimagine our connections with more-than-humans and encourage these relations to be reciprocal rather than hyper-curated or preserved.en_US
dc.languageenen
dc.language.isoenen_US
dc.relation.ispartofseriesCanadian thesesen
dc.rightsQueen's University's Thesis/Dissertation Non-Exclusive License for Deposit to QSpace and Library and Archives Canadaen
dc.rightsProQuest PhD and Master's Theses International Dissemination Agreementen
dc.rightsIntellectual Property Guidelines at Queen's Universityen
dc.rightsCopying and Preserving Your Thesisen
dc.rightsCreative Commons - Attribution - CC BYen
dc.rightsThis publication is made available by the authority of the copyright owner solely for the purpose of private study and research and may not be copied or reproduced except as permitted by the copyright laws without written authority from the copyright owner.en
dc.subjectCultural Studiesen_US
dc.subjectIndigenous Arten_US
dc.subjectNatural Historyen_US
dc.subjectResearch-Creationen_US
dc.subjectCanadian Arten_US
dc.subjectArchivingen_US
dc.subjectCritical Animal Studiesen_US
dc.subjectNature Conservationen_US
dc.subjectCuratingen_US
dc.title(Re)Imagining Relationality: Brad Isaacs and The Map of the Empireen_US
dc.typeThesisen_US
dc.description.restricted-thesisI have confirmed the following with Rosarie Coughlan: that I wish to restrict access to my thesis report file for 5 years and that only the catalogue file will be open access.en
dc.description.degreeMasteren
dc.contributor.supervisorRobinson, Dylanen
dc.contributor.departmentCultural Studiesen
dc.embargo.terms1825en
dc.embargo.liftdate2021-09-22


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