The term “natural history” is undoubtedly one of the most loaded terms in our cultural consciousness. It has become ever more apparent that our society is at once convinced that it has irrevocably lost its ties to nature and its own past, but remains adamantly determined to keep up appearances to the contrary all the same. The myth of this loss pervades the work and writing of Eleanor Morgan. By taking a position that “encompasses both the artist and the scientist,” Morgan delves into both roles via their common legitimizations--ordering, classification, rationalism,
historical determinism, binary thinking--in an attempt to blur the lines between sociological inquiry, artistic production and cultural consumption. Her approach flirts overtly with recent conflations of “light” and “serious” art in contemporary cultural production; but in so doing, she alerts us to the fact that the seeming inseparability of these categories merely denotes a distraction—primarily
from the negativity of culture that lies in the (now veiled) division between the two.
source: Unraveling the Myth of Natural History(PDF) - Rebecca Lane
Sticky Things, 2006, (04:32)
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