Showing 91 - 100 of 233 annotations tagged with the keyword "Anatomy"

Annotated by:
Bertman, Sandra

Primary Category: Performing Arts / Film, TV, Video

Genre: Video

Summary:

West coast dancer John Henry made his life the subject of his final performance. Choreographer Bromberg and film maker Rosenberg collaborate with Henry in the creation of a work for the theatre based on his desire to leave an autobiographic legacy. Filmed during the last few years of Henry's life with HIV/AIDS, the documentary examines the image of self as one individual prepares to separate from body and personhood, and continues after his death.

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Summary:

This book, designed to accompany an exhibition "on the frequently Excessive & flamboyant Seller of Nostrums as shown in prints, posters, caricatures, books, pamphlets, advertisements & other Graphic arts over the last five centuries," displays and comments on 183 illustrations associated with the art of quackery. As the title suggests, Helfand surveys the graphic material of quackery of England, France, and America during the modern period, although most of the material dates from the eighteenth and nineteenth centuries. In his introduction, Helfand discusses the uncertain boundaries between "regular" (now termed allopathic) physicians and their "irregular" or "empiric" counterparts--quacks.

Through the mid-nineteenth century, many practitioners of both sorts relied on pharmaceutical agents like mercury, antimony, and opium; developed trade symbols and packaging; and flaunted the honorific "Dr." and their affiliation with science. Many patients visited both regulars and irregulars, who might consult with each other. Some physicians even prescribed quacks' proprietary preparations. Helfand also notes differences, such as irregulars' lack of medical training, exaggerated advertising, refusal to disclose the contents of their products, and use of entertainment and sometimes even religion in their "medicine shows."

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The Fundamental Pictures

Gilbert and George

Last Updated: May-18-2007
Annotated by:
Henderson, Schuyler

Primary Category: Visual Arts / Sculpture

Genre: Sculpture

Summary:

Gilbert and George's work over the past three decades has largely consisted of grid-like photomontages - note, they consider their work to be "sculpture". These often massive works are at once easily identifiable as part of Gilbert and George's oeuvre (in part because they often have Gilbert and George in them) and unflinchingly referential: to the manufactured sheen and unnaturally bright neons of Warhol, to the confrontational exposure of Mapplethorpe's photography, and, of course, to cathedral stained glass. They draw upon these same influences in their creative self-creation, their transgressive aesthetics, and their repetition and reworking of religious and secular motifs intertwined with abstractions. Gilbert and George are insistently doubles: original and derivative, repetitive and evolving, reactionary and visionary.

The Fundamental Pictures consists of a series of some 39 scultptures, most involving juxtapositions of bodily execretia - sputum, tears, urine, semen, feces - in monumental close-up; the tears, urine and semen are captured through a microscope, dessicated and crystalized. The sensational titles of the individual works, such as 'Piss Faith' and 'Spit on Shit', are fairly accurate in describing the central themes of each work. In some of the montages, Gilbert and George appear, pink and naked, against a kaleidoscopic backdrop of bright, magnified bodily fluids; in others, they are dressed in their familiar suits. They were exhibited at the Lehmann Maupin Gallery, New York, in 1997.

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Annotated by:
Duffin, Jacalyn

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

Chicago architect Stourley Kracklite (Brian Dennehy) and his much younger, beautiful wife, Louisa (Chloe Webb), arrive in Italy to work for a year preparing an exhibition on his hero, the post-revolutionary French architect, Etienne-Louis Boullée (d. 1799). They make love as the train enters Italy; however, he scarcely looks at his wife again. On the evening of his welcoming dinner--set in the piazza in front of the Pantheon--Kracklite is wracked by the first of the endless, excruciating pains in his belly.

Louisa is pregnant, but in boredom and frustration, she takes an Italian lover, Caspasian (Lambert Wilson). The dashing, young architect has designs on the American's exhibition as well as on his wife; his photographer sister, Flavia, shares the intrigue. Kracklite entertains the hypothesis that his unfaithful wife is trying to poison him. A doctor tells him that the sinister pains are due to his lifestyle, but he does not believe this diagnosis and drifts into a subdued paranoia with delusions of persecution and of grandeur.

Obsessed with the shapes and contents--the architecture and the anatomy--of bellies in sculpture, painting, and photography, Kracklite photocopies ever larger and larger images which he "maps" on to his own prodigious abdomen. He writes postcards to Boulleé pouring out his fears. He identifies with Roman emperors, Christ, and Isaac Newton, to whom Boullée designed a never-constructed, hemispheric cenotaph, the belly-like model of which appears often, recapitulating Kracklite's obsession and Louisa's pregnancy.

After he learns he has cancer, he ends his life by falling backward in a Christ-like posture through a window during the opening ceremony of his Boullée project. At that same moment, his wife gives birth to their child, having cut the ribbon/cord to open the hemispherical exhibition.

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Painting

Bacon, Francis

Last Updated: May-17-2007
Annotated by:
Bertman, Sandra

Summary:

The foreground of Painting features a man dressed in a black suit and holding an umbrella. His face, hoary and grotesque, is obscured above his moustache by the shadow of an umbrella. A yellow flower attached to the lapel of the man's jacket stands out clearly against the black of his clothing, and is the only yellow used in the painting.

The man sits or stands inside a round enclosure made either of white metal or wood. Around the perimeter of these circular bars, two pieces of meat--what appear to be shanks of beef--are penetrated and supported by the enclosure. In front of the man, a platform of some sort extends toward the viewer. Behind him hangs a massive carcass, its limbs suspended outwards to expose the ribcage.

Three rectangular shapes that seem to be window blinds hang with cords behind the suspended meat. In the middle of the painting, in the deep background, abstract shapes that may or may not be human forms stand around on a catwalk.

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The Agnew Clinic

Eakins, Thomas

Last Updated: May-15-2007
Annotated by:
Mathiasen, Helle

Primary Category: Visual Arts / Painting/Drawing

Genre: Oil on canvas

Summary:

The Agnew Clinic by Eakins was commissioned by Dr. D. Hayes Agnew's students at the University of Pennsylvania to celebrate the seventy-year-old physician's retirement as Professor of Surgery in 1889. It was unveiled at commencement 1 May 1889. The size of the painting, the largest Eakins ever created, is 84 3/8 x 118 1/8 inches. The artist painted the work in ninety days and received a fee of $750. Its frame carries this inscription in Latin: The most experienced surgeon, the clearest writer and teacher, the most venerated and beloved man.

Dr. Agnew (1818-1892), a Pennsylvania native, was a well-respected surgeon and educator who had served in two army hospitals during the Civil War. He was best known for his competence in removing bullets, but Eakins has chosen to show him performing a lumpectomy or partial mastectomy.

The surgeon is shown standing in an enclosure, having stepped back from the operation. He is lecturing to students, faculty, and spectators seated in the operating theatre. Dr. Agnew holds a scalpel in his left hand. He is wearing a white surgical gown.

Eakins has placed the operating table with the female patient in front of Dr. Agnew. Her hair and face are visible, the ether cone just above her chin. Her right breast and arm are shown; the left breast is being operated on. A sheet covers her lower body. The sheet beneath the patient carries the inscription: University of Pennsylvania. Between Dr. Agnew and the bed we see a closed case holding the sterilized instruments. The anesthesiologist and the surgeons all wear white. Dr. Agnew's nurse, Mary Clymer, stands by the patient's waist. She is dressed in a high white cap, white apron and black dress.

Eakins illuminates Dr. Agnew, the patient and her doctors, and the nurse. The spectators sit in semi-darkness, but they are individualized by face and posture. The painting contains about thirty small portraits of doctors. Most of the doctors and spectators have been identified by name (see site at University of Pennsylvania: http://www.archives.upenn.edu/histy/features/1800s/1889med/agnewclinic.html). Eakins is standing to the extreme right, listening to a doctor who whispers to him. Because of time constraints, Eakins's mini portrait was painted by his wife, the artist Susan Macdowell Eakins.

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Wigs

Simpson, Lorna

Last Updated: May-11-2007
Annotated by:
Henderson, Schuyler

Primary Category: Visual Arts / Painting/Drawing

Genre: Lithograph

Summary:


21 butter-hued felt canvases, each with a lithograph of a wig; accompanied by a number of much smaller felt canvases with slogans imprinted on them.

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What Becomes You

Raz, Hilda; Link, Aaron

Last Updated: May-09-2007
Annotated by:
Davis, Cortney

Primary Category: Literature / Nonfiction

Genre: Autobiography

Summary:

Aaron Raz Link was born a girl, named Sarah, and loved as a daughter. Twenty-nine years later, after inner turmoil, deep thought and relentless examination of how society views gender, Sarah became Aaron, a gay man. This starkly open and moving book describes, in Aaron's words and then in his mother's words, both the costs and the rewards of this journey.

The book is divided into two sections: the longer, beginning section is Aaron's, an intense rendering of what might be called an inner dialogue: Aaron talking to himself about his place in a gendered world; Aaron talking to society about the role of men and women; and Aaron talking to us, the readers, as if we were his close friends, gathered around him as he revealed his life.

The second section belongs to his mother, Hilda Raz. In musing, episodic scenes, she writes about herself as Sarah and then Aaron's mother, about her own work as a poet and editor, and most poignantly about losing her breast to cancer.

On page 86 Aaron says, "A stereotype is a kind of camouflage; the eye finds what it expects to find, and passes over details." Throughout this book we are asked to look at, directly but never sensationally, our bodies' organs, our gender "details," not only as functional anatomy but as symbols of identification.

In both sections, I felt pulled along on this journey, both as someone invited and as someone looking on, an emotional voyeur, and in both sections I observed the unflinching honesty of the authors' revelations. But it in was this final section, the mother's story, that I felt most keenly the love between the two authors. It is this love that becomes the strength of the narrative, the ground on which this incredible story unfolds.

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Summary:

This is a collection of 91 poems on medical topics by medical students, physicians in training, and attending physicians; two are Canadian and the rest American. The poems are organized by six traditional groups of medical training and advancement in the profession: Medical Student, First Year; Medical Student, Second Year, Medical Student, Clinical Years; Intern; Resident; and Attending. There are no sections for pre-meds, retired doctors, or other programs (naturopath, chiropractor).

The editors have done a good job of picking well crafted and evocative poems. A dozen have been previously published. For the most part, the poems are short, easily fitting on one page. Almost all are in free verse, although there is one group of haiku, one prose poem, and an impressive sequence of ten Shakespearean sonnets “Breughel at Bellevue” by Anna Reisman.

Many poems treat dramatic moments in training: the anatomy lab, first gynecological exams, physician-patient relationships, especially when a patient is gravely ill or dying. Several poems in the first three sections comment on the differences between the normal social world and the intense medical world of the hospital. Throughout there are references to the pressures of high-tech, unfeeling medicine. Indeed Jack Coulehan sounds this theme in his introduction; he writes that "steadiness and tenderness" are both needed in medical practice.

 

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Annotated by:
Mathiasen, Helle

Primary Category: Performing Arts / Film, TV, Video

Genre: Video

Summary:

This 2002 DVD, copyrighted by WHYY in Philadelphia and narrated by Blythe Danner, consists of a one-hour documentary about Philadelphia-born painter, photographer, and sculptor Thomas Eakins (1844-1916) and eight short films about different facets of his life and work. Photographs by and of Eakins, his paintings, letters, and sketches are interspersed with commentary by his biographer Elizabeth Johns, and by art historians and historians. The DVD describes Eakins’s training, art production, and aspects of his personal life.

Eakins was already an excellent draftsman, trained at Central High School in Philadelphia, but he first learned to paint during the three-plus years he spent in Paris at École des Beaux Arts. The practice there was to paint from live, nude models instead of from plaster casts, as was customary in Philadelphia. After Paris, he traveled to Spain where he visited Madrid and Seville. He developed great admiration for Goya, Ribera, and Velazquez. His letters home indicate how much he missed his family, yet also how seriously he worked on his art.

Returning to Philadelphia, Eakins set up his studio in his family's home on Mt. Vernon Street. He spent most of the rest of his life in his childhood home. Eakins painted portraits of athletes, for example, rowers and boxers. He chose sitters skilled in the arts, in medicine, business and industry, and painted family members. He always portrayed people and scenery he knew well, and athletes skilled in sports he himself loved. An excellent draftsman and highly trained painter, Eakins became a popular instructor at the Pennsylvania Academy of Fine Arts.

Pennsylvania Academy of Fine Arts had an institute policy that prohibited the use of live, nude models, especially in mixed classes, but Eakins rebelled against these rules by asking his students to model nude in the classroom and outside. Eakins also modeled in the nude himself. He photographed and painted his students in the nude. He believed that artists must study human anatomy through anatomy lectures, dissection, and observation of the body in motion. He assigned such tasks to his American students. Because of his rebellion against Academy rules, he was forced to resign.

Eakins finished his most ambitious painting, The Gross Clinic (annotated in this database) when he was 31 years old. The work, now recognized as an American masterpiece, was poorly received by his contemporaries. Much of his later production was portraits of people he asked to sit for him, including Walt Whitman. He painted a number of cowboy pictures during his stay at a North Dakota ranch where he was recuperating from depression. He also painted twenty-five portraits of Philadelphia physicians.

The last photo of Eakins in his studio, featured in the documentary, shows him seated with his back to the viewer and surrounded by the many pictures he had been unable to sell or which were rejected by his sitters. Eakins is now recognized as a major American artist, particularly in portraiture.

 

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