Jaguar Group

Over the course ofJaguar Group’s extended text, Reisner draws on observational writing and archival research to offer an account of a wildlife diorama at theAmerican Museum of Natural History’s Hall of North American Mammals. Through a consideration of the suspended scene—one that depicts two taxidermiedjaguars gazing across a rugged desert vista at sunset—the project contends with the strong allure that Reisner feels and the contradictions tied up in complicatedAmerican histories of Westward Expansion, early 20th century conservationism, and the construction of national mythology.Jaguar Groupconsiders how systems of display blur the line between reality and simulation—and life and death—to present a “natural” ideal. The project extends acritical lens on historical approaches of collecting institutions through their amassing of biological specimens, funding of big game expeditions, and the depiction oflands that have been abstracted from narratives of indigenous stewardship. The work is situated within the broader cultural context of natural history museums assites of contemporary protest and inquiry amidst more urgent calls for decolonizing museums and the repatriation of cultural artifacts. Ultimately,JaguarGroupasks how we can both critique and love such an idiosyncratic, confusing, but beautiful monument.Jaguar Groupincorporates excerpts from historical letters from James Perry Wilson, the talented muralist who created the backdrop to the Jaguar Group dioramain the early 1940s. His affectionate letters with Thano, a young soldier on furlough, chronicle his work in the Museum and share insight into his painterly technique—his approach to concealing his art and transporting the viewer through attention to tonality, color theory and forced perspective—and the distortion of reality whichis necessary for the illusion of the diorama to function.The book’s color scheme is informed by Wilson’s oil painted murals, and a clear PVC cover references the smudged fingerprinted glass of the Museum’s diorama.Publication Details15 x 23 cm, 6 x 9 in194 pagesFlexiboundScreenprinted PVC dust jacketCased-in spiral bound; three loose photograph insertsEdition of 700Design by Rissa HochbergerPrinting by die Keure, BelgiumRetail: $30Isadora Reisner (b. 1994, NYC) is an artist and writer currently pursuing a J.D. at UCLA School of Law. Her work has explored museums, the archive,phenomenology, and fables. She has given lectures and tours at Frieze New York, EUROPA, Entrance Gallery, The Lower East Side Tenement Museum, andmore. She gives pro bono legal advice to documentary filmmakers at the UCLA Documentary Film Legal Clinic

Over the course ofJaguar Group’s extended text, Reisner draws on observational writing and archival research to offer an account of a wildlife diorama at theAmerican Museum of Natural History’s Hall of North American Mammals. Through a consideration of the suspended scene—one that depicts two taxidermiedjaguars gazing across a rugged desert vista at sunset—the project contends with the strong allure that Reisner feels and the contradictions tied up in complicatedAmerican histories of Westward Expansion, early 20th century conservationism, and the construction of national mythology. Jaguar Groupconsiders how systems of display blur the line between reality and simulation—and life and death—to present a “natural” ideal. The project extends acritical lens on historical approaches of collecting institutions through their amassing of biological specimens, funding of big game expeditions, and the depiction oflands that have been abstracted from narratives of indigenous stewardship. The work is situated within the broader cultural context of natural history museums assites of contemporary protest and inquiry amidst more urgent calls for decolonizing museums and the repatriation of cultural artifacts. Ultimately,JaguarGroupasks how we can both critique and love such an idiosyncratic, confusing, but beautiful monument. Jaguar Groupincorporates excerpts from historical letters from James Perry Wilson, the talented muralist who created the backdrop to the Jaguar Group dioramain the early 1940s. His affectionate letters with Thano, a young soldier on furlough, chronicle his work in the Museum and share insight into his painterly technique—his approach to concealing his art and transporting the viewer through attention to tonality, color theory and forced perspective—and the distortion of reality whichis necessary for the illusion of the diorama to function. The book’s color scheme is informed by Wilson’s oil painted murals, and a clear PVC cover references the smudged fingerprinted glass of the Museum’s diorama. Publication Details15 x 23 cm, 6 x 9 in194 pagesFlexiboundScreenprinted PVC dust jacketCased-in spiral bound; three loose photograph insertsEdition of 700Design by Rissa HochbergerPrinting by die Keure, BelgiumRetail: $30Isadora Reisner (b. 1994, NYC) is an artist and writer currently pursuing a J.D. at UCLA School of Law. Her work has explored museums, the archive,phenomenology, and fables. She has given lectures and tours at Frieze New York, EUROPA, Entrance Gallery, The Lower East Side Tenement Museum, andmore. She gives pro bono legal advice to documentary filmmakers at the UCLA Documentary Film Legal Clinic