Jane Wildgoose
Biographic Data
| ID | 5653747 |
|---|---|
| NAME | Jane Wildgoose |
| GIVEN NAMES | Jane |
| FAMILY NAME | Wildgoose |
| SIGNATURE | WILDGOOSE J |
| AFFILIATIONS | King's College London |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 1 |
Afterlife Writing and Situation of Graves II
This article discusses my practice as an artist and researcher examining the situation and significance of graves. First, in a site-specific installation at West Norwood Cemetery in South London, talking with visitors about whether it matters where human remains are deposited; secondly, in exhibitions at the Crypt Gallery St. Pancras and Lumen Crypt Gallery in Bethnal Green, presenting evidence of the historical circumstances in which human remai…
Finis
Focusing on Hogarth’s last graphic work, The Bathos, this essay examines the ways in which the vanitas themes it represents are bound up with events that occurred towards the end of the artist’s life. Drawing on life writing (including elements of Hogarth’s autobiographical notes) that accompanied the cataloguing of his works in the years following his death, it discusses a number of controversies that drew scathing criticism of his work, his cha…
Life Writing and Death
One thing in life we can be certain of: death. But how we talk about death—its inevitability, its causes and its course, its effects, or its places—is susceptible to changing cultural conditions. Reviewing a history of death that begins in prehistory, the distinguished historian of death Thomas Laqueur doubts it is possible to comprehend (in both senses) the topic: ‘Our awareness of death and the dead stands at the edge of culture. As such they m…
Beyond All Price
When the Rothschild Foundation and National Trust commissioned the artist Jane Wildgoose to present an exhibition at Waddesdon Manor, the country mansion built for Ferdinand de Rothschild (1839–1898) containing his magnificent collection of eighteenth-century French decorative arts and European paintings, she focused not on the grandeur of the house or the luxury of its contents, but on a simple lock of hair and a tiny photograph of Ferdinand’s w…
Ways of Making with Human Hair and Knowing How to “Listen” to the Dead
This essay discusses some of the ways in which human hair and bones may be perceived as materials that “speak” to us. It examines the craft skills and beliefs associated with incorporating human hair into mourning artifacts during the seventeenth to nineteenth centuries in northern Europe and North America. In addition, it compares these ways of making and knowing how to listen to the dead with the “deaf ear,” which was turned by scientific colle…
Life Writing and Death
One thing in life we can be certain of: death. But how we talk about death—its inevitability, its causes and its course, its effects, or its places—is susceptible to changing cultural conditions. Reviewing a history of death that begins in prehistory, the distinguished historian of death Thomas Laqueur doubts it is possible to comprehend (in both senses) the topic: ‘Our awareness of death and the dead stands at the edge of culture. As such they m…
Ways of Making with Human Hair and Knowing How to “Listen” to the Dead
This essay discusses some of the ways in which human hair and bones may be perceived as materials that “speak” to us. It examines the craft skills and beliefs associated with incorporating human hair into mourning artifacts during the seventeenth to nineteenth centuries in northern Europe and North America. In addition, it compares these ways of making and knowing how to listen to the dead with the “deaf ear,” which was turned by scientific colle…
Ways of Making with Human Hair and Knowing How to “Listen” to the Dead
This essay discusses some of the ways in which human hair and bones may be perceived as materials that “speak” to us. It examines the craft skills and beliefs associated with incorporating human hair into mourning artifacts during the seventeenth to nineteenth centuries in northern Europe and North America. In addition, it compares these ways of making and knowing how to listen to the dead with the “deaf ear,” which was turned by scientific colle…
Beyond All Price
When the Rothschild Foundation and National Trust commissioned the artist Jane Wildgoose to present an exhibition at Waddesdon Manor, the country mansion built for Ferdinand de Rothschild (1839–1898) containing his magnificent collection of eighteenth-century French decorative arts and European paintings, she focused not on the grandeur of the house or the luxury of its contents, but on a simple lock of hair and a tiny photograph of Ferdinand’s w…
Afterlife Writing and Situation of Graves II
This article discusses my practice as an artist and researcher examining the situation and significance of graves. First, in a site-specific installation at West Norwood Cemetery in South London, talking with visitors about whether it matters where human remains are deposited; secondly, in exhibitions at the Crypt Gallery St. Pancras and Lumen Crypt Gallery in Bethnal Green, presenting evidence of the historical circumstances in which human remai…
Finis
Focusing on Hogarth’s last graphic work, The Bathos, this essay examines the ways in which the vanitas themes it represents are bound up with events that occurred towards the end of the artist’s life. Drawing on life writing (including elements of Hogarth’s autobiographical notes) that accompanied the cataloguing of his works in the years following his death, it discusses a number of controversies that drew scathing criticism of his work, his cha…
Life Writing and Death
One thing in life we can be certain of: death. But how we talk about death—its inevitability, its causes and its course, its effects, or its places—is susceptible to changing cultural conditions. Reviewing a history of death that begins in prehistory, the distinguished historian of death Thomas Laqueur doubts it is possible to comprehend (in both senses) the topic: ‘Our awareness of death and the dead stands at the edge of culture. As such they m…
Art (5 works) · History (4 works) · Aesthetics (3 works) · Literature (3 works) · Afterlife (2 works) · Archaeology (2 works) · Art history (2 works) · Epistemology (2 works) · Fashion and Cultural Textiles (2 works) · Historical and Cultural Archaeology Studies (2 works)