Abstract

When world’s most famous taxidermist, Carl Akeley, died in 1926, many obituaries cited his consummate skill and innovative technique, often arguing that he had elevated taxidermy from a craft to an art. Such claims notwithstanding, taxidermy tends still to be considered as a craft. While scholars have studied the various ways in which taxidermy has been deployed within art practices – to critique gender, colonialism and concepts of mortality – late nineteenth- and early twentieth-century attempts to classify it as a fine art failed. This critical and historical asymmetry frames the following article, which explores what it tells us about how art is conceived today. I argue that taxidermy ‘failed’ as a form of art not because its procedures were distasteful, nor because its practice lacked the skill and vision an art might require. Rather, taxidermy remains outside of art due to a confluence of historical shifts in art practice and theory in the late nineteenth century, particularly those associated with the rise of instant photography and the advent of the snapshot. In this context, the making and display of taxidermied specimens entailed tensions – between ideal and real, type and example, multiple and singular, index and object – that were and remain central to photography and art. But, unlike photography, around which art historians have developed a sophisticated discourse, taxidermy lacks a critical vocabulary. Importantly, I argue, the taxidermied animal’s status involves no author-function, thus throwing into question methods of production and display. And, in light of this, I delineate taxidermy’s ‘failure’ in order to elucidate some of the tacit exclusions enacted by art history, particularly with regard to works that simultaneously reveal and negate their own manufacture.