wove contemporary artwork into the exhibition that explored
the implications of body imaging. Alex
Grey's paintings of the interiors of living bodies, and Rosamond
Purcell's compelling photographs of medical preparations from
across Europe were among the artworks on view.
A number of special
art programs challenged viewers to get in touch with their
'feelings' about bodies. For New York
artist Scott Serrano, the word 'challenge' may be an understatement.
Serrano performed as a fictional nineteenth-century anatomist
obsessed with using his own body to illuminate the human interior.
As Serrano's character lectured on anatomy, he used an elaborate
series of costumes to create the illusion that he was dissecting
himself. Serrano's fabricated body parts, built with careful
attention to detail and craftsmanship, were at once beautiful
and terrifyingmirroring our contradictory feelings about
the body's interior.
In another installation,
London artist Alexa Wright asked what
the "average" face looks like. Wright used a cumulative
cross section of museum visitors to create a digital composite
face, then divined each person's character based upon how
it deviated from the norm. The installation unveiled some
of the assumptions people make about character from facial
features, and touched on a larger issue raised by the exhibition:
how representations of the body mold