Art and Anatomy

By: Art and Anatomy Project 2014

Please see PDF download for Project collaborations.

The Artist and Scientist collaborations in the Art and Anatomy Project were:

Brigitte Kammlein and Ruth Napper, Art and Anatomy; My Paper in Review

Rebecca Cameron and Chris Button, Eye Movie

Sally Shephard and Marcus Collinge, Why are you tearing me from myself?

Holly Aitchison and Louisa Baillie, Four Heads

Alexander Noble Dust, Four Heads by Holly Aitchison

James Bellaney and Jonathan Shemmell, I walk through mud to get here

David Green and Ruth Napper, Connecticut

Lynn Taylor, Allan Mitchell and the Scientists, Body of Evidence

Emily Hill, Gisela Sole with Chris Sole, Clifton Suspension Bridge

Marcus Collinge and the Anatomy Department, Man saying ‘Ahh’

Lynnette Taylor and Ruth Napper, Untititled

Robbie McPhee and Stephanie Woodley, Use it or lose it

Robyn Bardas and Greg Jones, Anatomy of the Heart

Claire Peters and Natasha Flack, Medius and Minimus

Simone Montgomery and Ruth Napper, Bus Stop and EFTPOS

Rowan Holt and Joanna Montgomery, Shadow

Steve Grbic, Review of “Art and Anatomy”: Art describes Science

Jenny Rock and Sunkita Howard, Art and Anatomy: The Structure and Function of an art-science collaboration

Introduction to Art and Medicine Projects: ART AND SCIENCE
Peter Stupples

As a system of visual representation art has a long history of recording human investigations into the world of nature and, even more broadly, into speculating, even fantasising, about what that world might look like – out there in unseen worlds or in there, in the body, underneath the surface of things. An unsatisfi ed curiosity is a characteristic of humankind. Leonardo da Vinci is the prime example of the artist/scientist forever looking and drawing what he or she has seen and, on the foundation of actuality, proceeding to give visual substance to more speculative ideas.

In recent years science/technology has expanded the scope of art’s reach – adding photography and computer-driven applications, such as photoshop, to the toolbox. In order to explore this close association of art, science and technology the Dunedin School of Art organised a symposium in 2009 entitled ‘Illustrating the Unseeable: Reconnecting Art and Science’, bringing together both artists and those working in the visual presentation of science, such as Paul Trotman with his ground-breaking fi lm Donated to Science (2009). This was the first of a subsequent series of symposia dedicated to the way aspects of the visual arts relate to our social world in a constantly changing refl exive symbiosis.

In 2011 Ruth Napper, of the Anatomy Department at the University of Otago, suggested returning to the art and science dyad with a new initiative, a ninemonth project in which artists and scientists of specific disciplines might be encouraged to share ideas and experience, out of which artworks could be created inspired by that mutual interaction. She joined forces with Peter Stupples at the Dunedin School of Art and together they organised the Art and Neuroscience Project, November 2012-August 2013, that resulted in an exhibition and catalogue.