Grapevine


Art + Science =

* ArtSci 2001

* November 2-4, 2001

* City University of New York, The Graduate Center

* ANNE BARLOW currently works at the New Museum of Contemporary Art, New York. Prior to this, she was a contemporary art curator at various institutions in the UK, where she initiated a range of exhibitions, commissions, residencies and new media projects.

This year's ArtSci conference posed the questio; "How can the discoveries of scientific research and the powerful metaphors of art combine to impact society at large?" This agenda set the tone for a two-day conference in which several key themes emerged, namely: the role art/science projects could play in relation to ecological, social or community concerns; biotechnology, and human consciousness research; and the viability or otherwise of a new, integrated field of art/science research and practice.

The event opened with an engaging presentation by Joe Davis, artist and research fellow at MIT, and Dr. Dana Boyd, microbiologist at Harvard University, whose joint achievements include the development in 1987 of a synthetic DNA molecule (Microvenus). Several presenters focused on the potential of art/science projects to research or solve specific ecological problems. Herpetologist Peter Warny and artist Brandon Ballengee spoke about their field-biology projects with endangered wetlands species, and the special clearing and staining techniques that enabled Ballengee to make digital images of multi-limbed frogs whose developing bodies had been invaded by a parasite. These images were later included in the Paradise Now show that originated at Exit Art, New York [please see page 12 of this issue for a review of the exhibition].

The social and cultural impact of interdisciplinary practice was a key concern of two organizations at the conference. Margaret Myers stressed the importance, in fields such as urban planning, of having project teams that draw on the professional expertise of artists, lawyers, architects and engineers. In recommending sustainable organizational models, Jennifer Hall advocated secured funding, income streams and permeable, think-tank structures--in which artists clearly recognized their 'exchangeable value'.

This idea of 'exchangeable value' came to mind during the talk given by David Kremers, 'Distinguished Conceptual Artist in Biology' at the California Institute of Technology. Kremers, whose interests include combining living organisms and digital media, introduces subjective and aesthetic concerns to a principally scientific institution. Collaborating with scientists, including Dr. Scott Fraser, on the imaging of biological structure and function, Kremers helps develop social, medical and defense-oriented applications, including the possibility of 'seeing' disease through non-invasive procedures. CalTech teams are also researching substances that can be injected into the bloodstream to transmit and map specific data--something that, in view of biological warfare concerns after September 11, is of particular interest to the U.S. Government.

Artist Suzanne Anker and sociologist of science Dorothy Nelkin sparked one of the liveliest debates when the surprisingly contentious question of whether Eduardo Kac's rabbit was 'real' or a 'falsification of data' arose during their talk on the social and symbolic meanings of genetics and its biotechnological applications. Referring to art history as a 'history of consciousness', Anker and Nelkin commented on artists' current interest in the Chimera figure, monster imagery (such as the Chapman brothers' double-headed mannequins) and the commodification of human genes and cell tissue. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Grapevine
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.