Josh Keyes: References

AG (Antler Gallery). 2018. Josh Keyes: Brink [Online]. Available from: Accessed: 19.4.19

AM (Arrested Motion). 2014. “Entwined” at Antler Gallery [Online]. Available from: arrestedmotion .com/2014/05/openings-josh-keyes-neil-m-perry-entwined-antler-gallery/?images=1 Accessed: 25.4.19

Albert, C., Luque, G. and Courchamp, F. 2018. The twenty most charismatic species. Plos One, 13 (7)

Artz, L. 2003. Animating hierarchy: Disney and globalisation of capitalism. Global Media Journal, 1, 1-17

AZ ( 2015. Josh Keyes: Oasis [Online]. Available from: edition_id=17502 Accessed: 7.4.19

Baker, S. 2000. Postmodern Animal. London: Reaktion Books.

Barua, M., Root-Bernstein, M., Ladle, R.J. and Jepson, P. 2011. Defining flagship uses is critical for flagship selection: A critique of the IUCN climate change flagship fleet. Ambio, 40 (4), 431-435

Bekka (Thinkspace Author). 2018. Interview: Josh Keyes for “The Tempest” [Online]. Available from: Accessed: 16.4.19

Bengsten, P. 2015. Until the end of the world? Biocentrism and traces of human presence in the paintings of Josh Keyes. Journal of Ecocriticism, 7 (1), 1-13

Carrington, D. 2013. The Guardian: Climate Change [Online]. Available from: environment/2013/apr/17/british-children-deeply-concerned-climate-change Accessed: 25.4.19

Clucas, B., McHugh, K. and Caro, T. 2008. Flagship species on covers of US conservation and nature magazines. Biodiversity and Conservation, 17, 1517-1528

Davidson, L. 2015. Environmental art: A study of psychology and activism. Undergraduate Humanities Forum: University of Pennsylvania. DOI:

Doubleday, K.F. 2017. Nonlinear liminality: Human-animal relations on preserving the world’s most famous tigress. Geoforum, 81, 32-44

Douglas, M. 1975. Implicit meanings: Essays in anthropology. London: Routledge.

Doyle, S. 2013. Dystopia, for the ‘Lulz’ [Online]. Available from: Accessed: 17.4.19

Gibbens, S. National Geographic: Environment [Online]. Available from: environment 2019/01/climate-change-colder-winters-global-warming-polar-vortex/ Accessed: 25.4.19

Gomez, M.A. 1992. The writing on our walls: finding solutions through distinguishing graffiti art from graffiti vandalism. University of Michigan Journal of Law Reform, 26 (3), 633-707

Guynup, S. 2014. Talking tigers: Part 5 [Online]. Available from: /04/09/why-have-tigers-been-feared-and-revered-throughout-history/ Accessed: 13.4.19

Hall, J. Et al. 2019. Rising sea levels: helping decision-makers confront the inevitable. Coastal Management, 47, 127-150

Hurn, S. 2012. Humans and other animals. London: Pluto.

IMDB. (Internet Movie Database). 2007. I Am Legend [Online]. Available from: Accessed: 17.4.19

Ingold, T. (Ed). 1994. What is an animal? London: Routledge.

JLP (Jonathan LeVine Projects). 2019. Josh Keyes: Migration [Online]. Available from: Accessed: 25.4.19

Juxtapoz. 2018. Thinkspace Projects: Tempest [Online]. Available from: /news/painting/josh-keyes-feels-the-tempest-in-new-solo-show-thinkspace-projects/ Accessed: 25.4.19

Kalland, A. 1993. Management by totamization: whale symbolism and the anti-whaling campaign. Arctic, 46, 124-133

Karanth, K. and Sunquist, M. 2000. Behavioural correlates of predation by tiger (Panthera tigris), leopard (Panthera pardus) and dhole (Cuon alpinus) in Nagarahole. Journal of Zoology, 250 (2), 255-265

Keyes, J. 2015. JoshkeyesArt [Online]. Available from: Accessed: 25.4.19

Keyes, J. 2018. Josh Keyes [Online]. Available from: Accessed: 7.4.19

Keyes, J. 2018b. Antler Gallery: Josh Keyes [Online]. Available from: Accessed: 11.4.19

Lẻvi-Strauss, C. 1964. Totemism. (Trans: R. Needham). London: Merlin Press.

Lister, R. 2003. What is environmental art? A strategy for recognition, orientation and implementation. Visual Culture and Nature: Co-Gen Online Magazine.

Malaja, V. 2018. Anthropocene and contemporary art: To what extent does performativity of bioart challenge anthropocentric perception? Art of the contemporary world and world art studies: Leiden Uni.

Marsh, J. 2019. Pinterest: Artist –  Josh Keyes [Online]. Available from: Accessed: 25.4.19

Milton, K. 2005. Anthropomorphism or egomorphism? Perception of non-human persons by human ones. In: Knight, J. (Ed). Animals in person: cultural perspectives of human-animals intimacies, US: Berg.

Perlin, K. and Hertzmann, A. 2000. Painterly rendering for video and interaction. First International Symposium on Non-Photorealistic Animation and Rendering, June, 2000. New York University.

Peters, M. 2019. Threat of nuclear war: peace studies in an apocalyptic age. Education Philosophy   Theory, 51 (1), 1-4

Petkus Jr, E. 2002. Enhancing the application of experiential marketing in the arts. International Journal of Nonprofit Voluntary Marketing, 9 (1), 49-56

Schwartz, B., Tesser, A. and Powell, E. 1982. Dominance cues in nonverbal behaviour. Social Psychology Quarterly, 45 (2), 114-120

Sierzputowski, K. 2018. Colossal: Art [Online]. Available from: Accessed: 19.4.19

Smith, A. and Sutton, S.G. 2008. The role of flagship species in the formation of flagship intentions. Human Dimensions of Wildlife, 13 (2), 127-140

Song, Y. 2012. Exploring connections between environmental education and ecological public art. Childhood Education, 85 (1), 13-19

Unknown. 2015. Artist Interviews: Josh Keyes [Online]. Available from: Accessed: 7.4.19

Whitley, D. 2014. The wild and the cute: Disney animation and environmental awareness. In: Howe, A. and Yarbrough, W. (Eds.) Kidding around: The child in film and media. UK: Bloomsbury Academic.

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