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The Glass Veil: Seven Adventures in Wonderland
Series:
Suzanne Anker and Sabine Flach
In this collaborative work between artist and theorist Suzanne Anker and art historian Sabine Flach, the study of image production unveils the reality of pictures beyond their function as mere representations of the world. The visuals range from firsthand accounts of specimen collections in historical medical museums, to scientific research laboratories, to studies of plant propagation, among other themes concerning life forms and Bio Art. Focusing on systems of artistic knowledge, the authors demonstrate how context, scale and framing devices alter meaning in pictorial systems. Somatic responses, classification networks and image banks are explored as they relate to intersections in visual art and the biological sciences.
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Introduction
Extract
Figure 1. Suzanne Anker, The Glass Veil (In and Out of Time), 2009. Inkjet print on sintra, 76 x 96 in (193 x 243.84 cm). Installation view of The Glass Veil at Berliner Medizinhistorisches Museum der Charité, Berlin, Germany, 2009. Photograph by Suzanne Anker. ← 8 | 9 → ← 9 | 10 → ← 10 | 11 →
Figure 2. Suzanne Anker, MRI Butterfly #4, 2008. Archival inkjet print on paper, 13 x 19 in (33 x 48 cm). ← 11 | 12 → ← 12 | 13 →
Figure 3. Suzanne Anker, Origins and Futures, 2004. Rapid prototype sculpture of plaster and resin, stainless steel, pyrite minerals, 96 x 96 in (243.84 x 243.84 cm). Installation view of Golden Boy at Universal Concepts Unlimited, New York City, 2004. Photograph by D. James Dee. ← 13 | 14 →
Figure 4. Suzanne Anker, Laboratory Life (Bug Eye), 2006. Archival inkjet print on paper, 24 x 36 in (61 x 91.5 cm). ← 14 | 15 → ← 15 | 16 →
Figure 5. Top: Suzanne Anker, Biota #3, 2011. Porcelain, 5 x 8 x 7.5 in (12.7 x 20.3 x 19 cm). Bottom: Suzanne Anker, Biota #108, 2012. Porcelain, 12 x 11 x 8.5 in (30.5 x 28 x 21.6 cm). Photographs by Raul Valverde. ← 16 | 17 →
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