Michelangelo’s Hidden Sistine Chapel Message Discovered



Michelangelo may have hidden a message in his painting of god at the Sistine Chapel. The message, which the church would have considered an act of blasphemy portray’s the human brain hidden in a painting
of god.

The painting in question is The Separation of Light from Darkness in which the lumpy features of god’s neck apparently represents a human brain. It’s a well known fact that Michelangelo was an anatomist and inspired largely by the human body.

Neuroanatomists have not yet speculated as to what the message means, however neurosurgeon R Thomas Fields wrote in Scientific American that it could represent:

“The enduring clash between science and religion,” adding that it could have been a comment on the strained relationship Michelangelo felt between God and the Church “intelligence and observation and the bodily organ that makes them possible lead, without the necessity of Church, directly to God.”

Whatever the message may be, it’s sure to generate plenty of discussion as to the merits of the discover and what it really does truly mean.

Original article found here

MAXXI Gallery, Rome’s First Contemporary Art Museum Opens Its Doors



The city known for its ancient monuments and baroque churches finally has two new contemporary art galleries worthy of the name, both designed by foreign women.

The MAXXI gallery in Rome will open its futuristic doors to the public Sunday. The Museum of Art for the XXIst century is one of a few ultra-modern buildings to find a place in Rome, where modern architecture has often been met with resentment. The three-day inauguration festivities began on Thursday with the presentation of the gallery to crowds of enthusiastic journalists and critics.

The new structure designed by the Anglo-Iraqi architect Zaha Hadid juts out dramatically from the side of a former military barracks in a residential neighborhood outside the city center. Hadid was the first woman to be awarded the Pritzker Prize for Architecture in 2004.

http://www.maxxi.beniculturali.it

Original article found here

Various works by Tina Spratt

Tina Spratt is a figurative painter based out of the United Kingdom. In 1999, she received her B.A. in illustration from the University of Wolverhampton. However, because of her passion for fine art, she decided to change her professional focus to drawing and painting.

Her work can best be described as snap shots of contemporary life with classical painting influences from Caravaggio,Lucian Freud, and Rembrandt.

Although Tina’s work does draw from the painters of antiquity, she has worked to develop her own personal style and approach. Her style was developed through layering multiple levels and experimenting with limited color palettes. Recently, she has begun to explore the use of texture and mood, in conjunction with the theme of fabric.

Most of Tina’s current work can be viewed on her website but you can find various images scattered throughout the web.

I would love it if Tina had a personal blog. It would be interesting to see a breakdown of her process and peer into her work methods. Let’s cross our fingers and be wishful thinkers, until then you can find more of her work at the links below.

———————————-

http://www.tinaspratt.co.uk/

http://www.oisingallery.com

http://www.absolutearts.com

Various Works by Santiago Rusiñol

These beautiful paintings were created by Spanish artist Santiago Rusiñol. Rusiñol was a Spanish  Catalan  post-impressionist/Symbolist painter, poet, and playwright.  As a charismatic leader of Catalan Modernism and a founder of Els Quatre Gats in Barcelona, Rusiñol traveled widely and stayed often in Paris, having exhibited at the Paris Salon. It was in here that Rusiñol came into contact with Edgar Degas and James Abbot McNeil Whistler, whose work had a particular influence on his own. Notwithstanding his position as a leading member of the international avant-garde, however, it was in Spain, away from the clamor of the Parisian metropolis, that he was able to explore the full range of his resonant palette and where many of his most powerful and evocative works were completed. It was in 1895, during a visit to Granada, that Rusiñol first discovered the beauty of landscape gardens, which henceforth became central to his oeuvre. He has also been credited as an influential figure to Pablo Picasso as a modern artist.

You can learn more about Santiago Rusiñol through the following sites:

Santiago Rusiñol at http://www.gaudiallgaudi.com

Santiago Rusiñol at Artcyclopedia

U.S. Fish and Wildlife Service Confiscated Items Online Auction, Ongoing



They all have to go as the federal government cleans out the National Wildlife Property Repository, a vast warehouse crammed with 1.5 million miscellaneous items containing bits of creatures great and small...

Anyone who has lost a bird dome, a stuffed crow, or an anthropomorphic fox to U.S. Customs over the year take note: your chance to retrieve your lost merchandise--legally!--might have come!

The U.S. Fish and Wildlife Service--in a series of rolling online auctions--is selling off hundreds of thousands of confiscated items in order to clear out their warehouse and raise funds for wildlife conservation. Items found in the warehouse range from snake skin boots to "a beribboned walrus penis," Cape Buffalo heads to "a caiman, posed with a pipe in its mouth and an ashtray in its claws" (above, bottom image).

It should be mentioned that, "by law, the government can't sell anything containing, or even suspected of containing, an endangered species." Also, much of the higher-end contraband has been already sent to schools, zoos and museums for exhibits, and objects deemed crass are being withheld from the auction, so some of the more exotic, freaky, and museum-quality objects won't be finding their way to auction. Still, this auction promises to be a fascinating and contraversial one.

You can find out more here, compliments of the Wall Street Journal online:

Uncle Sam Wants You to Bid on This Fine Weasel Fur Coat
Confiscated Wildlife Goods Are Auctioned; Boon or Bane for Conservation?
By STEPHANIE SIMON

COMMERCE CITY, Colo.—Uncle Sam is having a clearance sale, and it's heavy on genuine cobra-skin boots.

Also, python boots. Ostrich boots. And stylish footwear made from lizard, eel and kangaroo.

They all have to go as the federal government cleans out the National Wildlife Property Repository, a vast warehouse crammed with 1.5 million miscellaneous items containing bits of creatures great and small.

All the goods in the warehouse, from the shaggy Cape buffalo head to the beribboned walrus penis, have been seized at ports of entry by agents of the U.S. Fish and Wildlife Service for violating laws regulating international trade in wildlife.

Warehouse supervisor Bernadette Atencio sends much of the contraband to schools, zoos and museums for exhibits. Ho-hum items that don't have much educational value are destroyed; she recently sent dozens of lizard-trim eyeglass cases to the incinerator. Ms. Atencio also disposes of all the medicinal potions that cross her desk—and the occasional bug-infested trophy leopard.

But she can never catch up. The Congressional Research Service pegs the illegal trade in wildlife products at more than $5 billion and perhaps as much as $20 billion a year world-wide. Nearly 200,000 items came into the warehouse last year, overwhelming Ms. Atencio's staff of four.

The solution? Clean house.

In a rolling online auction that started in February and will run through the summer, the Fish and Wildlife Service is selling off 300,000 items.

A dozen fur coats made from Siberian weasel sold for $4,450. A box of 270 acrylic key chains, each encasing "one small black salamander," went for $35. There are table lamps made of clam shells, drums covered with unspecified mammal skin, watches festooned with mother-of-pearl.

And a curious collection of clay dwarfs decorated with bits of python skin.

"What do you call those little figurines, the strange ones?" Ms. Atencio asked her colleague Doni Sprague.

Ms. Sprague had spent the afternoon sorting a jumble of new arrivals: 21 boxes of medicine containing dried sea horse; an antique sword inlaid with sea turtle shell; several bottles of foul-looking wine—purportedly good for treating arthritis—with pickled snakes coiled inside.

She looked up, casting about for a proper name for the figurines.

"They've got big hats," she said finally. "They're bizarre."

The auction disturbs some animal-rights activists who say an agency in the business of confiscating illegal goods shouldn't turn around and sell them because that only spurs demand. But Fish and Wildlife officials say they will use the money to preach conservation, and they've won some key backers.

The agency "needs more resources," said Crawford Allan, regulatory director of Traffic North America, a nonprofit organization dedicated to stopping the illegal wildlife trade. "Rather than burn these things and create excess carbon," Mr. Allan said, "it's fine to sell them."

By law, the government can't sell anything containing, or even suspected of containing, an endangered species. Ms. Atencio also holds back items she thinks are crass.

That includes a belt made from the spotted fur of a Margay, a South American jungle cat. The unlucky creature's head, stuffed and glassy-eyed, is still attached, whiskers and all. It serves as the buckle. "That's just wrong," Ms. Atencio says.

She feels the same about a handbag made from a whole toad—tanned and shellacked, with a zipper down its belly. And about a knickknack made from a crocodilian reptile known as a caiman, posed with a pipe in its mouth and an ashtray in its claws. Looking at it, Ms. Atencio winces. "This is so degrading," she says. "And it's a waste of the resource—just to sit on someone's end table."

Much of the merchandise seized by inspectors is more pedestrian: belts, coats, wallets, jewelry and footwear, including top name brands (though the agency can't vouch for their authenticity). Such items are typically legal to import to the U.S.—but only with the proper paperwork.

When documents are missing, the goods end up here, in a 22,000-square-foot warehouse outside Denver.

Last time the government sold off surplus from the repository, at a live auction in 1999, it raised $500,000 for wildlife conservation.

Ms. Atencio hopes to match that take with the online bidding, run by Lone Star Auctioneers. The Texas company focuses on surplus government property, selling everything from bulldozers to diamond rings to Elvis Presley collectible coins.

Fish and Wildlife items—all sold as is—are posted online in batches, several dozen a week.

Jeremy Reed, an insurance salesman in Spring, Texas, stumbled across the site while looking for used-car auctions. He was drawn to some snazzy ostrich boots. Starting bid: $225 for 19 pairs, none his size. Mr. Reed figured he could resell them to a friend who owns a Western-wear store.

"I'm kind of entrepreneurial," says Mr. Reed.

By the time he started bidding, the price was up to $325. He went to $375—then watched in dismay as four new bidders jumped in. A week later, the boots were sold for $825.

Mr. Reed was disappointed. "There are people with really deep pockets," he says. "That kind of ruins it for bargain shoppers like me."

It's perfectly legal to resell most items bought at auction, so many pop up on eBay as soon as they leave federal control.

That angers Ashley Byrne, a senior campaigner with the animal-rights group PETA.

Ms. Byrne argues that the sale just stimulates demand for weasel coats and
python-trimmed figurines. Instead, she says, the agency should donate the merchandise to PETA. She has laid in quite a store of fake blood to splash on the shiny green snakeskin shoes and the weathered leather jackets trimmed with fox fur. She would like to put the bloodied goods on display anywhere she can, next to video monitors rolling footage of "animals being skinned alive or bludgeoned to death."

The juxtaposition will make would-be shoppers queasy, Ms. Byrne promises. "As opposed," she says, "to perpetuating the idea that it's OK to turn an animal into a keychain."

You can read the full article and see the full slide show--from which the above images, by Matt McClain, were drawn--by clicking here. The action house dealing in this merchandise--Lone Star Auctioneers--can be accessed by clicking here.

Thanks to Michelle of Lapham's Quarterly for letting me know about this rather intriguing happenstance!

Exhibition to Revisit Contemporary Korean Art



Korea’s largest overseas contemporary art exhibition returns to London in July, but this time geared with new tactics ? the first comprehensive English-language book on contemporary art from the country and a fresh army of young artists.

“Korean Eye: Fantastic Ordinary,” organized by Standard Chartered and Britain’s influential Saatchi Gallery, returns for its second year, after its debut show in 2009 drew crowds of 250,000 in London. This year’s exhibition will showcase 12 artists, including the 2009 JoongAng Fine Art Prize Winner Jeong Chae-gang and Perrier Jouet nominated artist Lee Rim.

“A refreshing and arresting selection of works serve as an interesting introduction, not only to Korean contemporary art, but to the general Korean culture and the country,” said Nigel Hurst, director of the hosting Saatchi Gallery, at a press conference in Seoul last week.

From sculptures made of melted-down tires by Ji Yong-ho and multi-layered portraitures of Marilyn Monroe and others by Kim Dong-yoo, the complex range of selected artists challenge previous conventions associated with Korean art in the outside world.

Though the pieces may appear to deal with “mundane, day-to-day issues,” Hurst said, each of the works confronts the topic in a “quite fantastic fashion.”

Other notable pieces are by Jeon Joon-ho, who turns bank notes into hyper-realist art by adding impossible elements. On the back of a $20 bill, the figure of the artist himself can be seen washing the windows of the iconic White House in Washington D.C. Bae Joon-sung looks to combine the fantastical with the real by reinterpreting traditional Victorian-era settings with subtle, belying changes in the canvas.

The artists ? narrowed down from 100 ? were chosen by a board of six curators, including the art specialist Rodman Primack, director of Hanart TZ Gallery Tsong-zung Chang and the art consultant Amelie von Wedel.

“The selected work promises to present an extraordinary exhibition,” Hurst said. “But the feeling remains that we’re only really scratching the surface in terms of Korean art.”

Publishing house SKIRA will release the first English-language “Korean Eye: Contemporary Korean Art” in conjunction with the exhibition. The 400-page comprehensive book features 75 artists with a self-introduction, most of them translated from Korean.

Six features were contributed from art critics and organizers of the show, with essays from editor and Royal College of Art Honorary Fellow Serenella Ciclitira and art historian Lee Ji-yoon _ both members of the curatorial board. The internationally known Youngna Kim, a professor at Seoul National University and published art critic, also contributed a piece.

“It’s impossible to really know much about Korean contemporary art,” said David Ciclitira, founder of Korean Eye and chairman of the Parallel Media Group. “So [the book] is to show as much diversity as possible.”

Although the book will be released on July 5 at the London gallery, it will be available for public sale from October. The book will be sold by Internet shopping giant Amazon.com ($40.95).

Focus on sales has been downplayed this year however, as last year’s organizing partner Phillips de Pury & Co. will not be present. The major auction house and dealer managed to sell several works in 2009, but this year’s show will maintain a not-for-sale status.

“Korean Eye: Fantastic Ordinary” will be presented from July 3 to July 18 at the Saatchi Gallery, before moving to a venue in Singapore for two-and-a-half weeks in late September. The show will make its way to Korea by Nov. 1, in time for the G-20 Summit in Seoul. For more information visit http://www.koreaneye.org.

Original article found here

Oxberry Pegs Presents: Animators Are God? Series, "The Clay Animation of Jimmy Picker," Saturday May 29th, Observatory


This Saturday night, animator GF Newland and School of Visual Art professor Trilby Schreiber will be launching "Oxberry Pegs Presents: Animators Are God?", a new series at Observatory that seeks to investigate the human drive to animate--to give life or the illusion of life--in the broadest of senses. The series will be extremely wide-ranging in its focus, spanning "from Winsor McKay to Ren and Stimpy, the Golem to video games, phantasmagoria to animatronics, Pygmalian to puppet theatre, automata to Avator," and will include performances, screenings, lectures, presentations, and workshops.

Confirmed participants thus far include Kevin Brownie of Beavis and Butthead, Bob Camp of Ren and Stimpy, Jonny Clockworks of the Cosmic Bicycle Theatre, John Dillworth creator of Courage the Cowardly Dog, animator Bill Plymton, Mike Zohn of Obscura Antiques and Oddities on the History of Automata, and Joanna Ebenstein of this blog on The Golem; To find out more about this series and see a full list of participants confirmed thus far, click here.

The series will launch this Saturday night at 8:00 with "The Clay Animation of Jimmy Picker," in which clay animator and bon vivant Jimmy Picker--whose oeuvre includes the clay animation sequences from cult-classic 80s film Better Off Dead and the 1983 academy-award winning short Sundae in New York--will discuss his work and screen his latest project.

Full details for the event follow. More on the series here. Hope to see you there!

The Clay Animation of Jimmy Picker
Screening and conversation with Academy Award winning animator Jimmy Picker

Date: Saturday, May 29th, 2010

Time: 8:00 P.M.
Admission: $5
Day one of the
Oxberry Pegs Presents Series

This Saturday, May 29th, Oxberry Pegs presents the first night of our Animators are God? Series, featuring the clay animation of Jimmy Picker. Nestled in the bustling Flatbush neighborhood of Brooklyn, is Motion Picker Studios, where Jimmy Picker has been making hand-made films for nearly 30 years. He’s received several Academy award nominations along the way, and won the Oscar in 1983 for “Sundae in New York”, a musical animated short, with characters modeled on iconic New Yorkers, and staring a plasticine Ed Koch. Upon receiving the famed golden statuette, Picker remarked, “Now no one can say I’m a bum!” And how, Mr. Picker!

So, come to Observatory this Saturday and meet Jimmy Picker in person. Hear him talk about the art of clay animation, see his award winning shorts, and gawk as his lesser known cult-favorite clips, like those dancing hamburgers from the film Better Off Dead starring John Cusack. He will also screen his latest work, the “Age of Ignorance,” a clothing-optional creation story!

To find out more about the "Oxberry Pegs Presents: Animators Are God?" series, and to see a full list of participants scheduled thus far, click here. If you would like to recommend a participant, or are interested in participating yourself, email gfnewland@gmail.com. You can get directions to Observatory--which is next door to the Morbid Anatomy Library--by clicking here. You can find out more about Observatory here, join our mailing list by clicking here, and join us on Facebook by clicking here.

Image: "Yasutaro Mitsui poses with his own steel humanoid, Tokyo, Japan, in 1932."Via Retroliciousdesigns

The Secret Museum Website and Exhibition Closing Party









The Secret Museum is now a website!

I have just launched a full website for The Secret Museum, my exhibition of photographs (as seen above) exploring the poetics of hidden, untouched and curious collections from around the world. The website includes information, links, and, of course, a full gallery of photos, installation and otherwise; You can check it out by clicking here.

The Secret Museum exhibition proper will be on view until Sunday, June 6th at Observatory; please consider yourself cordially invited to a closing party that evening, featuring a last perusal of the museum, a bit of wine, a dimly-lit chandelier, and some esoteric music complements of Mister Friese Undine. The party--which will run from 6-10 at Observatory--is, of course, free of charge, and should be good fun. Address and travel details can be found here.

Hope very much to see you there!

All above images from The Secret Museum; captions from top to bottom:

  1. "Femme à barbe," Musée Orfila. Courtesy of Paris Descartes University
  2. Venus Endormie (breathing wax model), Spitzner collection Collection Spitzner, Musée Orfila, Paris Courtesy Université Paris Descartes
  3. Opération de la Cesarienne, (wax model of Caesarean section) Collection Spitzner, Musée Orfila, Paris. Courtesy Université Paris Descartes
  4. Skeleton and hand models for "la médecine opératoire" Musée Orfila, Paris. Courtesy Université Paris Descartes
  5. Plaster Models in Pathological Cabinet, The Museum of the Faculty of Medicine at the Jagiellonian University, Krakow
  6. Natural History Museum Backroom, Netherlands
  7. Natural History Museum Backroom, Netherlands
  8. Natural History Museum Backroom, Netherlands

"Another Science Fiction," Tomorrow, Tuesday May 25, 86th Street Barnes and Noble, 7 PM, NYC




Tomorrow night--Tuesday, May 25--Megan Prelinger, co-founder of San Francisco's inspiring Prelinger Library and author of the new book Another Science Fiction: Advertising the Space Race 1957 - 1962, will be on hand at the 86th Barnes and Noble to sign copies of her book and present an illustrated lecture about her research into science fiction advertising from the late 50s to the early 60s.

Prelinger's book, while not anatomical in theme, does feature a smattering of spectacular space medicine adverts, a few of which you can see above; Perhaps this should come as no surprise, as the book is published by Blast Books, which is (in)famous for its more corporeal offerings such as the Mütter Museum Books and Calendars and last year's best-selling Dissection.

Having had a peek at this book while it was still in production, I can assure you that the non-anatomical images which fill this book are as awe-inspiring and surprising as those you see above, and tomorrow's presentation is sure to be fantastic in every sense of the word!

You can find out more about the event by clicking here; You can find out more about the book by clicking here or here. To find out more about the Prelinger Library, click here.

Thanks so much to Blast Books' Laura Lindgren for sending these wonderful images my way!

"The Secret Museum," Photography Exhibition, Observatory, Closes June 6th













As many Morbid Anatomy readers already know, for many years now, I have been traveling the world with my camera, in search of obscure medical museums, cabinets of curiosity, dusty natural history museums, privately-held cabinets, untouched collections, and idiosyncratic assemblages of all sorts, front-stage and back, public and private. Some of the fruits of my labor make the way to the pages of this blog, or into various exhibitions such as 2007's Anatomical Theatre and last years Private Cabinets.

My latest project utilizing this material is photo exhibition at Observatory gallery in Brooklyn, New York. The exhibition, entitled "The Secret Museum," will be on view until Sunday June 6th, and features photographs of public and private, front-stage and back-stage collections from The United States, England, France, Poland, The Netherlands, Italy, and more. You will find in this exhibition photographs of taxidermied animals and humans (!), a life-sized breathing wax doll from the 19th century, Anatomical Venuses and Slashed Beauties, a fetal skeleton tableau from the 17th Century, backstage views at a number of natural history museums, an overlooked cabinet of curiosity in Paris, the untouched Teylers Museum of Haarlem, and much, much more.

Above are a just a very few of the many photographs included in the show (captions below); you can see a full collection of photographs (and some installation views as well!) by clicking here. Many photographs--all limited edition and signed giclée prints, handsomely framed and matted--are still available for sale, and quite reasonably priced! Please email me at morbidanatomy@gmail.com if you are interested in finding out more.

Also, if you are interested in a guided walk-through of the collection, why not come out for Atlantic Avenue Artwalk, which will be taking place over the weekend of June 5th and 6th? I will be on hand all day at Observatory and its next-door-neighbor The Morbid Anatomy Library, and happy to guide any interested parties through the exhibition.

Full details follow; hope you can make it!

The Secret Museum
April 10 - June 6th
3-6 Thursday and Friday
12-6 Saturday and Sunday

An exhibition exploring the poetics of hidden, untouched and curious collections from around the world in photographs and artifacts, by Joanna Ebenstein, co-founder of Observatory and creator of Morbid Anatomy.

Photographer and blogger Joanna Ebenstein has traveled the Western world seeking and documenting untouched, hidden, and curious collections, from museum store-rooms to private collections, cabinets of curiosity to dusty natural history museums, obscure medical museums to hidden archives. The exhibition “The Secret Museum” will showcase a collection of photographs from Ebenstein’s explorations–including sites in The Netherlands, Italy, France, Austria, England and the United States–which document these spaces while at the same time investigating the psychology of collecting, the visual language of taxonomies, notions of “The Specimen” and the ordered archive, and the secret life of objects and collections, with an eye towards capturing the poetry, mystery and wonder of these liminal spaces.

To download press release, which includes sample images, please click here.

To see the entire exhibition in a virtual, on-line fashion, click here. To find out more about Observatory, including directions, click here. For more about the Atlantic Avenue Artwalk, click here. For more about the Morbid Anatomy Library, click here. For more on Anatomical Theatre, an exhibition about medical museums, click here. For more about Private Cabinets, an exhibition about privately held collections, click here.

Click on images to see much larger image; full collection to be found here, caption list here:

  1. Femme à barbe (Bearded Lady), Musée Orfila, C
    ourtesy of Paris Descartes University
  2. Tim Knox and Todd Longstaffe-Gowan Collection, Private Collection, London, England
  3. Wax Department Store Mannequin, Early 20th Century; From the Home Collection of Evan Michelson, Antiques Dealer, New Jersey
  4. Wax Model, Musée Orfila, Paris. Courtesy Université Paris Descartes
  5. Venus Endormie (breathing model), Spitzner collection Collection Spitzner, Musée Orfila, Paris Courtesy Université Paris Descartes
  6. Bird Collection, “La Specola” (Museo di Storia Naturale), Florence, Italy
  7. Natural History Museum Backroom, Netherlands
  8. Natural History Museum Backroom, Netherlands
  9. Muséum d'Histoire Naturelle de Rouen, Rouen, France
  10. Muséum national d'histoire naturelle, Gallery of Palaeontology and Comparative Anatomy, Paris, France, Established 1793
  11. Teylers Museum, Haarlem, Netherlands, Established 1778
  12. Plaster Models in Pathological Cabinet, The Museum of the Faculty of Medicine at the Jagiellonian University, Krakow

"Many Dead Things: The Specimens of Alex CF," Superette Gallery, London


Friend-of-Morbid-Anatomy Suzanne G. of the incomparable Wurzeltod website and Tumblr, asked me to help get the word out about the upcoming exhibition: "Many Dead Things: The Specimens of Alex CF." The opening reception will take place on May 17th and the show will be on view until June 12th.

Full information following; check it out!

MANY DEAD THINGS – THE SPECIMENS OF ALEX CF
27 May – 2 June 2010
Opening reception: 27 May, 6 – 9 PM | 28 May – 2 June, 12 – 6 PM daily

Superette Gallery
66A Sclater Street, Off Brick Lane
London, E1 6HR, United Kingdom

In his first solo exhibition, following the release of his monograph, artist Alex CF offers the public a unique opportunity to see his bizarre specimens in person – objects that have so far only been witnessed by private collectors, such as Maxime Chattam (author) or Reece Shearsmith (actor, League of Gentlemen) who wrote the foreword for his book, and will be lending pieces from his own collection for the show.

Alex has spent the last five years crafting wondrous relics of an alternate past – a rich tapestry of 19th century cryptozoological artifacts and creatures that challenge our understanding of the natural world: The mummified remains of a vampire child, the taxidermied corpse of a 7-foot-tall adult werewolf, the trappings of scientists and archaeologists pertaining to the study of these species in the form of antique research cases, amongst many other fascinating objects.

The show will encompass a number of works including 6 new pieces and Alex will be signing his book.

Alex’s work has been featured in a number of well-known publications both online and in print, such as Weird Tales, Bizarre, BoingBoing, and io9. His work has also been featured on book covers, and in a number of independent films.

Click here to download press release.

To find out more, visit the exhibition website by clicking here. To visit Suzanne's amazing Wurzeltod website, click here; to visit her equally if not more amazing Tumblr, click here.

Image: By Alex CF, from exhibition website: L’enfant Diabolique, mixed media, 2010

Proteus Gowanus Benefit/Anniversary Party, Saturday, May 22nd, 7-10 p.m.

This Saturday May 22, the Morbid Anatomy Library's beloved mother institution Proteus Gowanus will be hosting a benefit party; for the event, I will be on hand to provide wine-soaked tours of the Library and my Observatory exhibition The Secret Museum; there will also be an exciting variety of other events, happenings, workshops, and music, not to mention food and wine. This promises to be a great event! Very much hope to see you there!

Full details follow:

PROTEUS GOWNAUS BENEFIT/ANNIVERSARY CELEBRATION
The Proteus Gowanus Board and Core Collaborators:
Sasha Chavchavadze, Tammy Pittman, Tom LaFarge, Wendy Walker
Julie Freundlich Lang, PK Ramani, Benjamin Warnke, Nick DeFriez
Andrew Beccone, Joanna Ebenstein, David Mahfouda

Invite you to join us for

A Benefit Party
to Celebrate Five Years on the Alleyway

Saturday, May 22nd, 7 - 10 p.m.
RAIN DATE: Sunday, May 23, 7 - 10 p.m.
Featuring

Optiks/Alley
A multimedia installation/performance by Paul Benney and friends
inspired by Newton's Opticks and West Side Story. Viewers will be
transported down the alleyway through a dream-like world
of theatrical lighting, video and an original sound score

And a Laboratory of Protean Workshops:
Rocketworks Countdown 3, a triptych moon launch video
Improvisational Mending with the Fixers Collective: bring a broken object!
Individual and Dual Stunts in the Reanimation Library
A Secret Museum, a private viewing of Morbid Anatomy Library’s collection
The Mysteries of the Gowanus Unveiled in our Hall of the Gowanus
An Oulipian Escapade with our Writhing Society

Music by Union Street Preservation Society
A selection of Thai hors d'oevres by JOYA restaurant
and wine will be served

Tickets $60 each
Space is limited, tickets will be sold
on a first come first served basis

BUY NOW

Or go to http://www.proteusgowanus.com
to buy a ticket or make a donation
718-243-1572
543 Union Street at Nevins Street Gate

You can buy tickets by clicking here; you can find out more about Proteus Gowanus by clicking here, more abou the Morbid Anatomy Library by clicking here, more about Observatory by clicking here, and more about The Secret Museum--which has been extended until June 6th--by clicking here.

Photo: Eric Harvey Brown, for Time Out New York

The Never-Realized Führermuseum, Linz, Austria

Starting in 1939, Nazi henchmen and art dealers bought and stole thousands of paintings, sculptures, tapestries and other objects from private collections across Europe, then stockpiled them. Hitler helped draw up architectural plans, which megomaniacally grew to include a theater and an opera house, a hotel, a library and parade grounds. Photographs show him, pencil in hand, pondering plans and gazing raptly on the model for the site...

Just in time for International Museum Day (which was yesterday, actually!), a fascinating story in the New York Times which details the ill-fated story of Adolf Hitler's never-realized Führermuseum, an art gallery he planned to establish in his hometown of Linz, Austria.

The article details the surprising importance that collecting artworks and planning the architecture and minutia of a museum held for Hitler even up until the eve of his demise; it also traces the history of a series of intruiguing artifacts related to his pursuit: meticulous scrapbooks containing black and white photos of the projected Führermuseum's collection, scrapbooks which now function as a sort of "museum without walls" for this ill-fated museum that never was. The article also provocatively examines in what ways Hitler's projects of collecting and empire might have been linked.

The article explains:

    It’s hard to overstate how seriously [Hitler] took the whole project. Art collecting obsessed him for years; his staff endured nightly soliloquies, Hitler droning on about art while Germany collapsed around him. He fussed even about how the rooms in the museum should be decorated.

    And goes on to comment:

    The jury is out over whether the 'disproportionate amount of time and energy,' as the head of the Allied art-looting investigation unit put it after the war, that Hitler demanded go to amassing art, diverted German resources from the war effort, hastening its end, or the reverse — whether Hitler’s obsession with Linz, and with collecting generally, in some measure motivated him to press on.

    Full story follows; really fascinating stuff, and well worth a read!

    Strange Trip for a Piece of Nazi Past
    By MICHAEL KIMMELMAN

    BERLIN — Robert Edsel, author of “The Monuments Men,” came to town the other day with a heavy album bound in green Moroccan leather. “Gemäldegalerie Linz XIII” was embossed on the spine. Inside were black-and-white photographs of mostly obscure 19th-century German paintings.

    The album was one of the long-missing volumes cataloging the never-built Führermuseum in Linz, Austria, which Hitler envisioned someday rivaling Dresden and Munich. Starting in 1939, Nazi henchmen and art dealers bought and stole thousands of paintings, sculptures, tapestries and other objects from private collections across Europe, then stockpiled them. Hitler helped draw up architectural plans, which megomaniacally grew to include a theater and an opera house, a hotel, a library and parade grounds. Photographs show him, pencil in hand, pondering plans and gazing raptly on the model for the site.

    “And so they are ever returning to us, the dead,” the German novelist W. G. Sebald wrote in “The Emigrants.” “At times they come back from the ice more than seven decades later and are found at the edge of the moraine, a few polished bones and a pair of hobnailed boots.” He was recalling a long-forgotten Alpine climber, whose remains a glacier in Switzerland suddenly released, 72 years after the man had gone missing.

    But really Sebald was describing the past, which everywhere turns up unexpectedly, jolting us from our historical amnesia. A German publisher, Berliner Verlag, just released a book of photographs of postwar Berlin that had somehow languished in its archives. I know a man in Spain who has been accumulating long-forgotten photographs and other private relics from the war: a mesmerizing and mysterious stash of soldiers’ snapshots and letters, and documents scrawled with Hitler’s notes. The missing Linz album surfaced not long ago outside Cleveland, of all places. An 88-year-old veteran, John Pistone, who fought with Patton’s army, picked it up in 1945 while rummaging through the Berghof, Hitler’s retreat in the Bavarian Alps. Like other soldiers, he wanted a souvenir to prove he’d been there. He didn’t know, or particularly care, what the album was, and only learned its significance when a contractor installing a washer-dryer in his house noticed the volume on a shelf, hunted for information via the Internet, then called Mr. Edsel.

    Mr. Edsel heads the Monuments Men Foundation for the Preservation of Art, an organization dedicated to preserving the legacy of the 350 or so Allied soldiers tasked with looking after cultural treasures in Europe. A 53-year-old, white-haired former oilman, Mr. Edsel isn’t the sort of person who takes no for an answer, and he persuaded Mr. Pistone to relinquish the volume to the German Historical Museum in Berlin , which has the other extant Linz albums. (This makes 20; 11 are still missing.)

    Hitler was presented with the albums every Christmas and on his birthday. They featured reproductions of the latest art to go into the museum. The books were a virtual museum-in-waiting, a museum without walls. You imagine him cradling the bulky volumes, ogling bucolic scenes of a bygone German countryside now in ruins, imagining himself the next Medici.

    It’s hard to overstate how seriously he took the whole project. Art collecting obsessed him for years; his staff endured nightly soliloquies, Hitler droning on about art while Germany collapsed around him. He fussed even about how the rooms in the museum should be decorated.

    “I never bought the paintings that are in the collections that I built up over the years for my own benefit,” he took pains to write in his brief will, just before putting a pistol to his head, “but only for the establishment of a gallery in my hometown of Linz.”

    A model of Linz had already been moved to the bunker in Berlin so it would be among the last things he saw.

    Volume XIII, Mr. Pistone’s album, contains reproductions of 19th-century German and Austrian pictures, the art Hitler admired most. He may have bought some of these works with royalties from “Mein Kampf.” They’re mawkish idylls by painters largely obscure even to Germans and Austrians today. The best pictures are by Adolph von Menzel and Hans Makart, with whose early underappreciation Hitler perversely identified.

    Time whitewashes evil, or not. Mr. Edsel expressed his opinion this week that more and more curios like Mr. Pistone’s album would surface now that the last surviving veterans are dying.

    “Emotional value doesn’t transfer across generations,” is how he put it. “People don’t inherit passions.” One man’s private memento becomes another’s opportunity to sell something on eBay, notwithstanding that German and American authorities insist that artifacts like the Linz album are cultural property that shouldn’t be sold. Regardless, he meant that in the process of passing between generations, the object gains new life.

    In a ceremony on Tuesday, Volume XIII was delivered to the German Historical Museum here, joining other Linz albums on display behind glass, like contaminated evidence. The jury is out over whether the “disproportionate amount of time and energy,” as the head of the Allied art-looting investigation unit put it after the war, that Hitler demanded go to amassing art, diverted German resources from the war effort, hastening its end, or the reverse — whether Hitler’s obsession with Linz, and wi
    th collecting generally, in some measure motivated him to press on.

    Historians can thrash that out. Meanwhile, there are the 11 unaccounted-for albums. Presumably they’re still out there, like Sebald’s polished bones.

    You can view the full article by clicking here, and see the related slide-show--from which the above image, captioned "Hitler at work on plans for his museum in Linz, Austria," was drawn-- by clicking here.

    San Francisco Zen Center presents ‘The Accidents of our Materials’ with sculptors Arthur Ganson & Elizabeth King


    The San Francisco Zen Center has announced that they will present The Accidents of Our Materials with sculptors Arthur Ganson and Elizabeth King.

    The presentation will explore the concepts of gesture, intention, and empathy as Ganson and King present their work and engage the audience in conversation. Using materials as varied as oil, concrete, and artichoke petals, Arthur Ganson explores existential conundrums with mechanized kinetic sculptures that mysteriously exhibit human qualities.

    Elizabeth King combines movable figurative sculptures with stop-frame animation, blurring how we perceive what is real and what is virtual, imbuing the inanimate with an air of conscious intent. Ganson and King will be discussing the thematic similarities of their work, as well as engaging with the audience around notions of time, humanity, and consciousness for this fourth installment of The Expert’s Mind.

    Arthur Ganson has been making kinetic sculpture for over thirty years, having received a Bachelor of Fine Arts degree from the University of New Hampshire in 1978. A former artist-in-residence at the Massachusetts Institute of Technology, he currently maintains an ongoing exhibition of sculpture at the Gestural Engineering exhibit at MIT Museum in Cambridge, Massachusetts. His work has been and is currently exhibited in galleries and museums in both the United States and Europe.

    Elizabeth King combines precisely movable figurative sculptures with stop-frame animation in works that blur the perceptual boundary between actual and virtual object. Intimate in scale — a theater for an audience of one — and made to solicit close looking, the work reflects her interests in early clockwork automata, the history of the mannequin and the puppet, and literature’s host of legends in which the artificial figure comes to life.

    The event will take place Thursday, June 3 from 7:30pm – 9:30pm.

    Original article found here

    Frank Frazetta, Renowned Fantasy Artist, Dies at 82



    Frank Frazetta, 82, the celebrated comic artist and illustrator whose ax-wielding muscular warriors, scantily clad heroines and ferocious beasts of prey graced numerous science fiction and fantasy novels, died May 10 at a hospital in Fort Myers, Fla., after a stroke.

    Mr. Frazetta, who started as a pencil-and-ink comic book artist, painted movie posters and rock album covers, but he was perhaps best known for the cover illustrations to the paperback reissues of Robert E. Howard’s Conan the Barbarian series and Edgar Rice Burroughs’s Tarzan and Pellucidar series.

    Mr. Frazetta’s drawings were credited with renewing the popularity of the character, a mainstay of the 1930s pulp magazine Weird Tales. He helped define the illustration style for the fantasy sub-genre known as “sword and sorcery.”

    Describing Mr. Frazetta’s bold, sexually charged style, the author Donald Newlove wrote in 1977, “There’s no love of decay and fetidness — his swamps and jungles are soft green, lush, aswirl and gently vivid, germinal . . . a perfect setting for the erotic.”

    Mr. Frazetta was one of the first artists in paperbacks and comics to negotiate the ownership of his artwork — a move that worked out well for him. The cover painting for a 1966 Lancer books edition of “Conan the Conqueror” sold for $1 million in a 2009 auction.

    Although he left comics work in the 1960s, his later paintings influenced such artists as Richard Corben of Heavy Metal magazine and anticipated a trend toward painted graphic novels.

    Original article found here

    Morbid Magicians, Demented Doctors, and Sinister Swamis: The Golden Age of the American Spook Show, Observatory, Monday, May 17


    This Monday, Morbid Anatomy presents at Observatory "Morbid Magicians, Demented Doctors, and Sinister Swamis: The Golden Age of the American Spook Show," an illustrated lecture by Shane Morton of the Atlanta Silver Scream Spook Show. As an added bonus, DJ Davin Kuntze has promised to play his beloved Victrola until the night ends or until he runs out of needles, whichever comes first. So as you can see, this is a night not-to-be-missed. Full details follow; hope to see you there!

    Morbid Magicians, Demented Doctors, and Sinister Swamis: The Golden Age of the American Spook Show
    An Illustrated lecture by Shane Morton of Atlanta’s Silver Scream Spook Show

    Date: Monday, May 17

    Time: 8:00 PM

    Admission: $5

    There was a time when morbid magicians, demented doctors, and sinister swamis ran wild over this country! Audiences packed in to witness live midnight performances of ghosts being conjured above their heads, raging gorillas grabbing women from their seats, and Frankenstein’s Monster stomping loose through darkened movie palaces! The 1930’s-50’s was the golden era of a now virtually lost performance art form. But what resonated with people then, remains powerful to us today. Find out all about the fascinating world of the great American spook show at tonight’s lecture, which will give your goose pimples goose pimples, and scare the yell out of you!

    Shane Morton is an artist, performer and musician from Atlanta, Georgia. He runs the Silver Scream Spook Show, the only spook show to exist in over a generation. You can find out more about Morton and his work at http://wwww.silverscreamspookshow.com and http://www.myspace.com/silverscreamspookshow.

    You can find out more about this presentation here. You can get directions to Observatory--which is next door to the Morbid Anatomy Library (more on that here)--by clicking here. You can find out more about Observatory here, join our mailing list by clicking here, and join us on Facebook by clicking here. Click on image to see larger version.