Category Archives: Visual Art

Symbiosis (science education initiative) in British Columbia (Canada)

Is it STEM (science, technology, engineering, and mathematics) or is it STEAM (science, technology, engineering, arts, and mathematics)?

It’s STEAM as least as far as Dr. Scott Sampson is concerned. In his July 6, 2018 Creative Mornings Vancouver talk in Vancouver (British Columbia, Canada) he mentioned a major science education/outreach initiative taking place in the province of British Columbia (BC) but intended for all of Canada, Symbiosis There was some momentary confusion as Sampson’s slide deck identified it as a STEM initiative. Sampson verbally added the ‘A’ for arts and henceforth described it as a STEAM initiative. (Part of the difficulty is that many institutions have used the term STEM and only recently come to the realization they might want to add ‘art’ leading to confusion in Canada and the US, if nowhere else, as old materials require updating. Actually, I vote for adding the humanities too so that we can have SHTEAM.)

You’ll notice, should you visit the Symbiosis website, that the STEM/STEAM confusion extends further than Sampson’s slide deck.

Sampson,  “a dinosaur paleontologist, science communicator, and passionate advocate for reimagining cities as places where people and nature thrive, serves (since 2016) as president and CEO of Science World British Columbia” or as they’re known on their website:  Science World at TELUS World of Science. Unwieldy, eh?

The STEM/STEAM announcement

None of us in the Creative Mornings crowd had heard of Symbiosis or Scott Sampson for that matter (apparently, he’s a huge star among the preschool set due to his work on the PBS [US Public Broadcasting Service] children’s show ‘Dinosaur Train’). Regardless, it was good to hear  of this effort although my efforts to learn more about it have been a bit frustrated.

First, here’s what I found: a May 25, 2017 Science World media release (PDF) about Symbiosis,

Science World Introduces Symbiosis
A First-of Its-Kind [sic] Learning Ecosystem forCanada

We live in a time of unprecedented change. High-tech innovations are rapidly transforming 21st century societies and the Canadian marketplace is increasingly dominated by novel, knowledge-based jobs requiring high levels of literacy in science, technology, engineering and math (STEM). Failing to prepare the next generation to be STEM literate threatens the health of our youth, the economy and the places we live. STEM literacy needs to be integrated into the broader context of what it means to be a 21st century citizen. Also important is inclusion of an extra letter, “A,” for art and design, resulting in STEAM. The idea behind Symbiosis is to make STEAM learning accessible across Canada.

Every major Canadian city hosts dozens to hundreds of organizations that engage children and youth in STEAM learning. Yet, for the most part, these organizations operate in isolation. The result is that a huge proportion of Canadian youth, particularly in First Nations and other underserved communities, are not receiving quality STEAM learning opportunities.

In order to address this pressing need, Science World British Columbia (scienceworld.ca) is spearheading the creation of Symbiosis, a deeply collaborative STEAM learning ecosystem. Driven by a diverse network of cross-sector partners, Symbiosis will become a vibrant model for scaling the kinds of learning and careers needed in a knowledge-based economy.

Today [May 25, 2017], Science World is proud to announce that Symbiosis has been selected by STEM Learning Ecosystems, a US-based organization, to formally join a growing movement. In just two years, the STEM Learning Ecosystems  initiative has become a thriving network of hundreds of organizations and thousands of individuals, joined in regional partnerships with the objective of collaborating in new and creative ways to increase equity, quality, and STEM learning outcomes for all youth. Symbiosis will be the first member of this initiative outside the United States.

Symbiosis was selected to become part of the STEM Learning Ecosystem initiative because of a demonstrated [emphasis mine] commitment to cross-sector collaborations in schools and beyond the classroom. As STEM Ecosystems evolve, students will be able to connect what they’ve learned, in and out of school, with real-world, community-based opportunities.

I wonder how Symbiosis demonstrated their commitment. Their website doesn’t seem to have existed prior to 2018 and there’s no information there about any prior activities.

A very Canadian sigh

I checked the STEM Learning Ecosystems website for its Press Room and found a couple of illuminating press releases. Here’s how the addition of Symbiosis was described in the May 25, 2017 press release,

The 17 incoming ecosystem communities were selected because they demonstrate a commitment to cross-sector collaborations in schools and beyond the classroom—in afterschool and summer programs, at home, with local business and industry partners, and in science centers, libraries and other places both virtual and physical. As STEM Ecosystems evolve, students will be able to connect what is learned in and out of school with real-world opportunities.

“It makes complete sense to collaborate with like-minded regions and organizations,” said Matthew Felan of the Great Lakes Bay Regional Alliance STEM Initiative, one of the founding Ecosystems. “STEM Ecosystems provides technical assistance and infrastructure support so that we are able to tailor quality STEM learning opportunities to the specific needs of our region in Michigan while leveraging the experience of similar alliances across the nation.”

The following ecosystem communities were selected to become part of this [US} national STEM Learning Ecosystem:

  • Arizona: Flagstaff STEM Learning Ecosystem
  • California: Region 5 STEAM in Expanded Learning Ecosystem (San Benito, Santa Clara, Santa Cruz, Monterey Counties)
  • Louisiana: Baton Rouge STEM Learning Network
  • Massachusetts: Cape Cod Regional STEM Network
  • Michigan: Michigan STEM Partnership / Southeast Michigan STEM Alliance
  • Missouri: Louis Regional STEM Learning Ecosystem
  • New Jersey: Delran STEM Ecosystem Alliance (Burlington County)
  • New Jersey: Newark STEAM Coalition
  • New York: WNY STEM (Western New York State)
  • New York: North Country STEM Network (seven counties of Northern New York State)
  • Ohio: Upper Ohio Valley STEM Cooperative
  • Ohio: STEM Works East Central Ohio
  • Oklahoma: Mayes County STEM Alliance
  • Pennsylvania: Bucks, Chester, Delaware, Montgomery STEM Learning Ecosystem
  • Washington: The Washington STEM Network
  • Wisconsin: Greater Green Bay STEM Network
  • Canada: Symbiosis, British Columbia, Canada

Yes, somehow a Canadian initiative becomes another US regional community in their national ecosystem.

Then, they made everything better a year later in a May 29, 2018 press release,

New STEM Learning Ecosystems in the United States are:

  • California: East Bay STEM Network
  • Georgia: Atlanta STEAM Learning Ecosystem
  • Hawaii: Hawai’iloa ecosySTEM Cabinet
  • Illinois: South Suburban STEAM Network
  • Kentucky: Southeastern Kentucky STEM Ecosystem
  • Massachusetts: MetroWest STEM Education Network
  • New York: Greater Southern Tier STEM Learning Network
  • North Carolina: STEM SENC (Southeastern North Carolina)
  • North Dakota: North Dakota STEM Ecosystem
  • Texas: SA/Bexar STEM/STEAM Ecosystem

The growing global Community of Practice has added: [emphasis mine]

  • Kenya: Kenya National STEM Learning Ecosystem
  • México: Alianza Para Promover la Educación en STEM (APP STEM)

Are Americans still having fantasies about ‘manifest destiny’? For those unfamiliar with the ‘doctrine’,

In the 19th century, manifest destiny was a widely held belief in the United States that its settlers were destined to expand across North America.  …

They seem to have given up on Mexico but the dream of acquiring Canadian territory rears its head from time to time. Specifically, it happens when Quebec holds a referendum (the last one was in 1995) on whether or not it wishes to remain part of the Canadian confederation. After the last referendum, I’d hoped that was the end of ‘manifest destiny’ but it seems these 21st Century-oriented STEM Learning Ecosystems people have yet to give up a 19th century fantasy. (sigh)

What is Symbiosis?

For anyone interested in the definition of the word, from Wordnik,

symbiosis

Definitions

from The American Heritage® Dictionary of the English Language, 4th Edition

  • n. Biology A close, prolonged association between two or more different organisms of different species that may, but does not necessarily, benefit each member.
  • n. A relationship of mutual benefit or dependence.

from Wiktionary, Creative Commons Attribution/Share-Alike License

  • n. A relationship of mutual benefit.
  • n. A close, prolonged association between two or more organisms of different species, regardless of benefit to the members.
  • n. The state of people living together in community.

As for this BC-based organization, Symbiosis, which they hope will influence Canadian STEAM efforts and learning as a whole, I don’t have much. From the Symbiosis About Us webpage,

A learning ecosystem is an interconnected web of learning opportunities that encompasses formal education to community settings such as out-of-school care, summer programs, science centres and museums, and experiences at home.

​In May 2017, Symbiosis was selected by STEM Learning Ecosystems, a US-based organization, to formally join a growing movement. As the first member of this initiative outside the United States, Symbiosis has demonstrated a commitment to cross-sector collaborations in schools and beyond the classroom. As Symbiosis evolves, students will be able to connect what they’ve learned, in and out of school, with real-world, community-based opportunities.

We live in a time of unprecedented change. High-tech innovations are rapidly transforming 21st century societies and the Canadian marketplace is increasingly dominated by novel, knowledge-based jobs requiring high levels of literacy in science, technology, engineering and math (STEM). Failing to prepare the next generation to be STEM literate threatens the health of our youth, the economy, and the places we live. STEM literacy needs to be integrated into the broader context of what it means to be a 21st century citizen. Also important is inclusion of an extra letter, “A,” for art and design, resulting in STEAM.

In order to address this pressing need, Science World British Columbia is spearheading the creation of Symbiosis, a deeply collaborative STEAM learning ecosystem. Driven by a diverse network of cross-sector partners, Symbiosis will become a vibrant model for scaling the kinds of learning and careers needed in a knowledge-based economy.

Symbiosis:

  • Acknowledges the holistic connections among arts, science and nature
  • ​Is inclusive and equitable
  • Is learner-centered​
  • Fosters curiosity and life-long learning ​​
  • Is relevant—should reflect the community
  • Honours diverse perspectives, including Indigenous worldviews
  • Is partnerships, collaboration, and mentorship
  • ​Is a sustainable, thriving community, with resilience and flexibility
  • Is research-based, data-driven
  • Shares stories of success—stories of people/role models using STEAM and critical thinking to make a difference
  • Provides a  variety of access points that are available to all learners

I was looking for more concrete information such as:

  • what is your budget?
  • which organizations are partners?
  • where do you get your funding?
  • what have you done so far?

I did get an answer to my last question by going to the Symbiosis news webpage where I found these,

We’re hiring!

 7/3/2018 [Their deadline is July 13, 2018]

STAN conference

3/20/2018

Symbiosis on CKPG

3/12/2018

Design Studio #2 in March

2/15/2018

BC Science Outreach Workshop

2/7/2018

Make of that what you will. Also, there is a 2018 copyright notice (at the bottom of the webpages) but no copyright owner is listed.

There is some Symbiosis information

A magazine known as BC Business (!) offers some details in a May 11, 2018 opinion piece, Note: Links have been removed,

… Increasingly, the Canadian marketplace is dominated by novel, knowledge-based jobs requiring high levels of literacy in STEM (science, technology, engineering and math). Here in B.C., the tech sector now employs over 100,000 people, about 5 percent of the province’s total workforce. As the knowledge economy grows, these numbers will rise dramatically.

Yet technology-driven businesses are already struggling to fill many roles that require literacy in STEM. …

Today, STEM education in North America and elsewhere is struggling. One study found that 60 percent of students who enter high school interested in STEM fields change their minds by graduation. Lacking mentoring, students, especially girls, tend to lose interest in STEM. [emphasis mine]Today, only 22 percent of Canadian STEM jobs are held by women. Failing to prepare the next generation to be STEM-literate threatens the prospects of our youth, our economy and the places we live.

More and more, education is no longer confined to classrooms. … To kickstart this future, a “STEM learning ecosystem” movement has emerged in the United States, grounded in deeply collaborative, cross-sector networks of learning opportunities.

Symbiosis will concentrate on a trio of impacts:

1) Dramatically increasing the number of qualified STEM mentors in B.C.—from teachers and scientists to technologists and entrepreneurs;

2) Connecting this diversity of mentors with children and youth through networked opportunities, from classroom visits and on-site shadowing to volunteering and internships; and

3) Creating a digital hub that interweaves communities, hosts a library of resources and extends learning through virtual offerings. [emphases mine]

Science World British Columbia is spearheading Symbiosis, and organizations from many sectors have expressed strong interest in collaborating—among them K-12 education, higher education, industry, government and non-profits. Several of these organizations are founding members of the BC Science Charter, which formed in 2013.

Symbiosis will launch in fall of 2018 with two pilot communities: East Vancouver and Prince George. …

As for why students tend to lose interest in STEM, there’s a rather interesting longitudinal study taking place in the UK which attempts to answer at least some of that question. I first wrote about the ASPIRES study in a January 31, 2012 posting: Science attitude kicks in by 10 years old. This was based on preliminary data and it seemed to be confirmed by an unrelated US study of high school students also mentioned in that posting (scroll down about 40% of the way).

In short, both studies suggested that children are quite to open to science but when it comes time to think about careers, they tend to ‘aspire’ to what they see amongst family and friends. I don’t see that kind of thinking reflected in any of the information I’ve been able to find about Symbiosis and it was not present in Sampson’s, Creative Mornings talk.

However, I noted during Sampson’s talk that he mentioned his father, a professor of psychology at the University of British Columbia and how he had based his career expectations on his father’s career. (Sampson is from Vancouver originally.) Sampson, like his father, was at one point a professor of ‘science’ at a university.

Perhaps one day someone from Symbiosis will look into the ASPIRE studies or even read my blog 🙂

You can find the latest about what is now called the ASPIRES 2 study here. (I will try to post my own update to the ASPIRES projects in the near future).

Best hopes

I am happy to see Symbiosis arrive on the scene and I wish all the best for the initiative. I am less concerned than the BC Business folks about supplying employers with the kind of employees they want to hire and hopeful that Symbiosis will attract not just the students, educators, mentors, and scientists to whom they are appealing but will cast a wider net to include philosophers, car mechanics, hairdressers, poets, visual artists, farmers, chefs, and others in a ‘pursuit of wonder’.

Aside: I was introduced to the phrase ‘pursuit of wonder’ by a friend who sent me a link to José Teodoro’s May 29, 2018 interview with Canadian filmmaker, Peter Mettler for the Brick. Mettler discusses his film about the Northern Lights and the technical challenges he met along the way.

Quantum Inkblot; An evening of physics, psychology, art and astronomy on July 12, 2018 in Vancouver (Canada)

A June 26, 2018 HR MacMillan Space Centre (HRMSC) press release, received via email, announces an upcoming art/sci event,

This July the H.R. MacMillan Space Centre and Voirelia: Dance, Psychology and Philosophy Hub will be co-hosting Quantum Inkblot, an interactive evening exploring quantum physics through the lenses of physics and psychology, art, and astronomy. The evening will incorporate talks by a physicist and a psychologist, visual artwork, and original contemporary dance performances.

The talks and artistic works will explore some of the questions about how psychology and physics can mirror, inspire, and influence one another. We will touch on topics related to relativity, uncertainty, and predictability of this world.

A dialogue-style talk will be led by physicist Dr. Jaymie Matthews and psychologist Dr. Alina Sotskova exploring the intersections of quantum physics and psychology. Dr. Matthews will be discussing the concept of wave-particle duality and the way it takes the assumption that one thing cannot be in two places at once and turns it on its head.

Dr. Sotskova will be talking about the dissonance in predicting the behaviour of groups vs. predicting the behaviour of individuals, giving pause to reflect on the existence of order at a macro level and chaos at the micro level.

The evening will also feature three original contemporary dance performances and a visual art and music presentation that were all inspired by themes in psychology and the intersection with physics.

There will be time between performances to enjoy a drink, take part in interactive art activities, watch physics demonstrations, and chat with physicists, artists, and psychologists. The evening will end with a question and answer period with all of the performers and speakers.

Here are logistics and additional details,

Quantum Inkblot will take place at the H.R. MacMillan Space Centre Thursday, July 12th.

This is a 19+ event.

6:30pm doors open, 7:00pm show starts in the Planetarium Star Theatre

$25 for tickets

Tickets available online through Eventbrite,[clicking on this link will give you a map to the location] in person, or by phone at 604.738.7827.

Find the Quantum Inkblot event on Facebook for sneak peeks at the art work being created, learn more about the process of collaboration between artists and scientists, and more!

The H.R. MacMillan Space Centre is a non-profit community resource that brings the wonders of space to Earth, while providing a personal sense of ongoing discovery. Through innovative programming, exhibits and activities, our goal is to inspire sustained interest in the fields of Earth science, space science and astronomy from a Canadian perspective.

Voirelia is a Vancouver-based Dance, Psychology, and Philosophy Hub. Its main purpose is to create original dance and art works inspired by ideas in psychology and philosophy. Voirelia also organizes talks, workshops, and events relevant to the intersection between dance, psychology, & philosophy, such as talks on philosophy of science. Our aim is “movement with meaning.”

BC Psychological Association has provided support for this event and BCPA representatives will be available to chat with the guests.

Voirelia provides a few more information and pictures on its Upcoming Projects webpage,

There will be several dance works presented during Quantum Inkblot. Here are the latest shots from one of the rehearsals, with physicists Dr. Jaymie Matthews and Dr. Ewan Hill joining us for a transdisciplinary open-rehearsal style session.

Photographs: Jason Kirkness. Dancers: Sophie Brassard, Michael Demski. Rehearsal direction/choreography: Alina Sotskova. [Not all the images have been included in this excerpt.]

 

We wanted to document our artistic and creative process as we put together this unique event. Below you will see examples of original art works and how artistic creation progresses. In the dance photographs below (by Jason Kirkness), we had a brainstorming session that included people with backgrounds in physics, psychology, dance, and theater. We spent about an hour talking about concepts from quantum physics that people often find “weird” – such as the concepts of waves, particles, wave-particle duality, and the uncertainty principle. We touched on how quantum physics influences our perception of science, the world, and ourselves. We discussed topics of identity and searching for meaning and why the quantum world is so different from what we see with our senses. Then we took our brainstorming to the dance studio. Here, using prompts suggested by physicists and her own knowledge as a psychologist and dancer, Alina Sotskova facilitated improvisational movement exploration. This yielded a great deal [sic] of ideas about parallels between physics and psychology, and we will use these ideas a spring board as we begin to develop specific dance works for the event. You can also check out short videos of the improvisational movement research session on our Facebook page, in the Videos section. [Not all the images have been included in this excerpt.]

The team who was part of the brainstorming session […] included: Andrew Elias (Graduate Student working in the field of quantum physics, UBC); Jason Kirkness (Co-lead for the Quantum Inkblot Event and; background: physics and computer science); Alina Sotskova (Co-lead for the Quantum Inkblot Event and; background: psychology and dance). Our dancers were: Angelo Moroni, Michael Demski, Carolyn Schmidt, Alejandra Miranda Caballero, Alina Sotskova.

The images below are samples of original art works by Andrew Short, one of Voirelia’s Core Consultants. Inspired by topics in quantum physics, psychology, and cosmology, Andrew is working on preparing a very special presentation especially for Quantum Inkblot. [There are more images at Voirelia.]

 

Interestingly, this does not seem to be a ‘sister’ event to Toronto’s ‘Out Of This World; Art inspired by all things astronomical’ exhibition and talks being held July 4 – 22, 2018 in honour of the Royal Astronomical Society of Canada’s (RASC) sesquicentennial (150th anniversary). There’s more about Toronto’s astronomical art/science event in my July 2, 2018 posting.

Out Of This World; Art inspired by all things astronomical from July 4 – 22, 2018 in Toronto, Canada

From a June 29, 2018 ArtSci Salon notice (received via email),

July 4 – 22  | Out Of This World | Juried Group Exhibition

“ Space… is big. Really big. You just won’t believe how vastly, hugely, mindbogglingly big it is. I mean, you may think it’s a long way down the road to the chemist’s, but that’s just peanuts to space.”
– DOUGLAS ADAMS: THE HITCHHIKER’S GUIDE TO THE GALAXY (1979)


July 4 – 22  | Out of this World | Juried Group Exhibition
Opening Reception: Thurs. July 5th, 7 – 10 pm. (with telescopes! weather permitting… and astronomically-themed music from the 17th and 18th centuries)

2018 marks a century-and-a-half of the Royal Astronomical Society of Canada’s (RASC) promotion of astronomy and allied sciences in Canada. From early on, the RASC has encouraged exploring the connections of astronomy with other areas of culture, an interest which continues to the present. Propeller Gallery has partnered with the RASC to present an exhibition celebrating their sesquicentennial.

Astronomy, with its highly evocative imagery, and mindboggling and mindbending ideas about our Universe, provides artists with richly visual and deeply conceptual inspiration. Out of This World features a diverse array of work inspired by the cosmos, ranging from the visualization of astronomical data to textiles, video and installation. A select number of works from the archives of the RASC are also presented.

Participating Artists: Michael Black | Linda-Marlena Bucholtz Ross | David Cumming | Chris Domanski | Trinley Dorje | Dan Falk | Maya Foltyn | Peter Friedrichsen | Susan Gaby-Trotz | Aryan Ghaemmaghami | David Griffin | Xianda Guo, Charlotte Mueller, Sinead Lynch, Ramona Fluck, Christoph Blapp & Jayanne English | Diana Hamer | Chris Harms  | Angela Julian | Adam Kolodziej  | Irena IRiKO Kolodziej | Nancy Lalicon | Michelle Letarte | Shannon Leigh  | Elizabeth Lopez | Trevor McKinven | France McNeil  | John Ming Mark | Giuseppe Morano | Sarah Moreau  | Joseph Muscat  | Pria Muzumdar  | Neeko Paluzzi | Frances Patella | Donna Wells | Donna Wise | plus archival work from the Royal Astronomical Society of Canada

Curatorial Team: Robin Kingsburgh, Tony Saad, David Griffin, Randall Rosenfeld

Panel discussion: Understanding Astronomical Images, Saturday July 14, 1:30-3pm

Artist Talks and Star Party in Lisgar Park: Saturday July 21, 7pm+ (Join us in the gallery at 7pm for informal talks by artists about their work. Follow us outside to Lisgar Park across the street when it gets dark – where members of the RASC and York University will set up telescopes.)

As for exactly where the show, panel discussions, and artist talks are taking place,

Propeller Gallery
30 Abell Street, Toronto, ON M6J 0A9
416-504-7142

www.propellerctr.com
gallery@propellerctr.com

Happy star gazing!

Yes! Art, genetic modifications, gene editing, and xenotransplantation at the Vancouver Biennale (Canada)

Patricia Piccinini’s Curious Imaginings Courtesy: Vancouver Biennale [downloaded from http://dailyhive.com/vancouver/vancouver-biennale-unsual-public-art-2018/]

Up to this point, I’ve been a little jealous of the Art/Sci Salon’s (Toronto, Canada) January 2018 workshops for artists and discussions about CRISPR ((clustered regularly interspaced short palindromic repeats))/Cas9 and its social implications. (See my January 10, 2018 posting for more about the events.) Now, it seems Vancouver may be in line for its ‘own’ discussion about CRISPR and the implications of gene editing. The image you saw (above) represents one of the installations being hosted by the 2018 – 2020 edition of the Vancouver Biennale.

While this posting is mostly about the Biennale and Piccinini’s work, there is a ‘science’ subsection featuring the science of CRISPR and xenotransplantation. Getting back to the Biennale and Piccinini: A major public art event since 1988, the Vancouver Biennale has hosted over 91 outdoor sculptures and new media works by more than 78 participating artists from over 25 countries and from 4 continents.

Quickie description of the 2018 – 2020 Vancouver Biennale

The latest edition of the Vancouver Biennale was featured in a June 6, 2018 news item on the Daily Hive (Vancouver),

The Vancouver Biennale will be bringing new —and unusual— works of public art to the city beginning this June.

The theme for this season’s Vancouver Biennale exhibition is “re-IMAGE-n” and it kicks off on June 20 [2018] in Vanier Park with Saudi artist Ajlan Gharem’s Paradise Has Many Gates.

Gharem’s architectural chain-link sculpture resembles a traditional mosque, the piece is meant to challenge the notions of religious orthodoxy and encourages individuals to image a space free of Islamophobia.

Melbourne artist Patricia Piccinini’s Curious Imaginings is expected to be one of the most talked about installations of the exhibit. Her style of “oddly captivating, somewhat grotesque, human-animal hybrid creature” is meant to be shocking and thought-provoking.

Piccinini’s interactive [emphasis mine] experience will “challenge us to explore the social impacts of emerging biotechnology and our ethical limits in an age where genetic engineering and digital technologies are already pushing the boundaries of humanity.”

Piccinini’s work will be displayed in the 105-year-old Patricia Hotel in Vancouver’s Strathcona neighbourhood. The 90-day ticketed exhibition [emphasis mine] is scheduled to open this September [2018].

Given that this blog is focused on nanotechnology and other emerging technologies such as CRISPR, I’m focusing on Piccinini’s work and its art/science or sci-art status. This image from the GOMA Gallery where Piccinini’s ‘Curious Affection‘ installation is being shown from March 24 – Aug. 5, 2018 in Brisbane, Queensland, Australia may give you some sense of what one of her installations is like,

Courtesy: Queensland Art Gallery | Gallery of Modern Art (QAGOMA)

I spoke with Serena at the Vancouver Biennale office and asked about the ‘interactive’ aspect of Piccinini’s installation. She suggested the term ‘immersive’ as an alternative. In other words, you won’t be playing with the sculptures or pressing buttons and interacting with computer screens or robots. She also noted that the ticket prices have not been set yet and they are currently developing events focused on the issues raised by the installation. She knew that 2018 is the 200th anniversary of the publication of Mary Shelley’s Frankenstein but I’m not sure how the Biennale folks plan (or don’t plan)  to integrate any recognition of the novle’s impact on the discussions about ‘new’ technologies .They expect Piccinini will visit Vancouver. (Note 1: Piccinini’s work can  also be seen in a group exhibition titled: Frankenstein’s Birthday Party at the Hosfselt Gallery in San Francisco (California, US) from June 23 – August 11, 2018.  Note 2: I featured a number of international events commemorating the 200th anniversary of the publication of Mary Shelley’s novel, Frankenstein, in my Feb. 26, 2018 posting. Note 3: The term ‘Frankenfoods’ helped to shape the discussion of genetically modified organisms and food supply on this planet. It was a wildly successful campaign for activists affecting legislation in some areas of research. Scientists have not been as enthusiastic about the effects. My January 15, 2009 posting briefly traces a history of the term.)

The 2018 – 2020 Vancouver Biennale and science

A June 7, 2018 Vancouver Biennale news release provides more detail about the current series of exhibitions,

The Biennale is also committed to presenting artwork at the cutting edge of discussion and in keeping with the STEAM (science, technology, engineering, arts, math[ematics]) approach to integrating the arts and sciences. In August [2018], Colombian/American visual artist Jessica Angel will present her monumental installation Dogethereum Bridge at Hinge Park in Olympic Village. Inspired by blockchain technology, the artwork’s design was created through the integration of scientific algorithms, new developments in technology, and the arts. This installation, which will serve as an immersive space and collaborative hub for artists and technologists, will host a series of activations with blockchain as the inspirational jumping-off point.

In what is expected to become one of North America’s most talked-about exhibitions of the year, Melbourne artist Patricia Piccinini’s Curious Imaginings will see the intersection of art, science, and ethics. For the first time in the Biennale’s fifteen years of creating transformative experiences, and in keeping with the 2018-2020 theme of “re-IMAGE-n,” the Biennale will explore art in unexpected places by exhibiting in unconventional interior spaces.  The hyperrealist “world of oddly captivating, somewhat grotesque, human-animal hybrid creatures” will be the artist’s first exhibit in a non-museum setting, transforming a wing of the 105-year-old Patricia Hotel. Situated in Vancouver’s oldest neighbourbood of Strathcona, Piccinini’s interactive experience will “challenge us to explore the social impacts of emerging bio-technology and our ethical limits in an age where genetic engineering and digital technologies are already pushing the boundaries of humanity.” In this intimate hotel setting located in a neighborhood continually undergoing its own change, Curious Imaginings will empower visitors to personally consider questions posed by the exhibition, including the promises and consequences of genetic research and human interference. …

There are other pieces being presented at the Biennale but my special interest is in the art/sci pieces and, at this point, CRISPR.

Piccinini in more depth

You can find out more about Patricia Piccinini in her biography on the Vancouver Biennale website but I found this Char Larsson April 7, 2018 article for the Independent (UK) more informative (Note: A link has been removed),

Patricia Piccinini’s sculptures are deeply disquieting. Walking through Curious Affection, her new solo exhibition at Brisbane’s Gallery of Modern Art, is akin to entering a science laboratory full of DNA experiments. Made from silicone, fibreglass and even human hair, her sculptures are breathtakingly lifelike, however, we can’t be sure what life they are like. The artist creates an exuberant parallel universe where transgenic experiments flourish and human evolution has given way to genetic engineering and DNA splicing.

Curious Affection is a timely and welcome recognition of Piccinini’s enormous contribution to reaching back to the mid-1990s. Working across a variety of mediums including photography, video and drawing, she is perhaps best known for her hyperreal creations.

As a genre, hyperrealism depends on the skill of the artist to create the illusion of reality. To be truly successful, it must convince the spectator of its realness. Piccinini acknowledges this demand, but with a delightful twist. The excruciating attention to detail deliberately solicits our desire to look, only to generate unease, as her sculptures are imbued with a fascinating otherness. Part human, part animal, the works are uncannily familiar, but also alarmingly “other”.

Inspired by advances in genetically modified pigs to generate replacement organs for humans [also known as xenotransplantation], we are reminded that Piccinini has always been at the forefront of debates concerning the possibilities of science, technology and DNA cloning. She does so, however, with a warm affection and sense of humour, eschewing the hysterical anxiety frequently accompanying these scientific developments.

Beyond the astonishing level of detail achieved by working with silicon and fibreglass, there is an ethics at work here. Piccinini is asking us not to avert our gaze from the other, and in doing so, to develop empathy and understanding through the encounter.

I encourage anyone who’s interested to read Larsson’s entire piece (April 7, 2018 article).

According to her Wikipedia entry, Piccinini works in a variety of media including video, sound, sculpture, and more. She also has her own website.

Gene editing and xenotransplantation

Sarah Zhang’s June 8, 2018 article for The Atlantic provides a peek at the extraordinary degree of interest and competition in the field of gene editing and CRISPR ((clustered regularly interspaced short palindromic repeats))/Cas9 research (Note: A link has been removed),

China Is Genetically Engineering Monkeys With Brain Disorders

Guoping Feng applied to college the first year that Chinese universities reopened after the Cultural Revolution. It was 1977, and more than a decade’s worth of students—5.7 million—sat for the entrance exams. Feng was the only one in his high school to get in. He was assigned—by chance, essentially—to medical school. Like most of his contemporaries with scientific ambitions, he soon set his sights on graduate studies in the United States. “China was really like 30 to 50 years behind,” he says. “There was no way to do cutting-edge research.” So in 1989, he left for Buffalo, New York, where for the first time he saw snow piled several feet high. He completed his Ph.D. in genetics at the State University of New York at Buffalo.

Feng is short and slim, with a monk-like placidity and a quick smile, and he now holds an endowed chair in neuroscience at MIT, where he focuses on the genetics of brain disorders. His 45-person lab is part of the McGovern Institute for Brain Research, which was established in 2000 with the promise of a $350 million donation, the largest ever received by the university. In short, his lab does not lack for much.

Yet Feng now travels to China several times a year, because there, he can pursue research he has not yet been able to carry out in the United States. [emphasis mine] …

Feng had organized a symposium at SIAT [Shenzhen Institutes of Advanced Technology], and he was not the only scientist who traveled all the way from the United States to attend: He invited several colleagues as symposium speakers, including a fellow MIT neuroscientist interested in tree shrews, a tiny mammal related to primates and native to southern China, and Chinese-born neuroscientists who study addiction at the University of Pittsburgh and SUNY Upstate Medical University. Like Feng, they had left China in the ’80s and ’90s, part of a wave of young scientists in search of better opportunities abroad. Also like Feng, they were back in China to pursue a type of cutting-edge research too expensive and too impractical—and maybe too ethically sensitive—in the United States.

Here’s what precipitated Feng’s work in China, (from Zhang’s article; Note: Links have been removed)

At MIT, Feng’s lab worked on genetically engineering a monkey species called marmosets, which are very small and genuinely bizarre-looking. They are cheaper to keep due to their size, but they are a relatively new lab animal, and they can be difficult to train on lab tasks. For this reason, Feng also wanted to study Shank3 on macaques in China. Scientists have been cataloging the social behavior of macaques for decades, making it an obvious model for studies of disorders like autism that have a strong social component. Macaques are also more closely related to humans than marmosets, making their brains a better stand-in for those of humans.

The process of genetically engineering a macaque is not trivial, even with the advanced tools of CRISPR. Researchers begin by dosing female monkeys with the same hormones used in human in vitro fertilization. They then collect and fertilize the eggs, and inject the resulting embryos with CRISPR proteins using a long, thin glass needle. Monkey embryos are far more sensitive than mice embryos, and can be affected by small changes in the pH of the injection or the concentration of CRISPR proteins. Only some of the embryos will have the desired mutation, and only some will survive once implanted in surrogate mothers. It takes dozens of eggs to get to just one live monkey, so making even a few knockout monkeys required the support of a large breeding colony.

The first Shank3 macaque was born in 2015. Four more soon followed, bringing the total to five.

To visit his research animals, Feng now has to fly 8,000 miles across 12 time zones. It would be a lot more convenient to carry out his macaque research in the United States, of course, but so far, he has not been able to.

He originally inquired about making Shank3 macaques at the New England Primate Research Center, one of eight national primate research centers then funded by the National Institutes of Health in partnership with a local institution (Harvard Medical School, in this case). The center was conveniently located in Southborough, Massachusetts, just 20 miles west of the MIT campus. But in 2013, Harvard decided to shutter the center.

The decision came as a shock to the research community, and it was widely interpreted as a sign of waning interest in primate research in the United States. While the national primate centers have been important hubs of research on HIV, Zika, Ebola, and other diseases, they have also come under intense public scrutiny. Animal-rights groups like the Humane Society of the United States have sent investigators to work undercover in the labs, and the media has reported on monkey deaths in grisly detail. Harvard officially made its decision to close for “financial” reasons. But the announcement also came after the high-profile deaths of four monkeys from improper handling between 2010 and 2012. The deaths sparked a backlash; demonstrators showed up at the gates. The university gave itself two years to wind down their primate work, officially closing the center in 2015.

“They screwed themselves,” Michael Halassa, the MIT neuroscientist who spoke at Feng’s symposium, told me in Shenzhen. Wei-Dong Yao, another one of the speakers, chimed in, noting that just two years later CRISPR has created a new wave of interest in primate research. Yao was one of the researchers at Harvard’s primate center before it closed; he now runs a lab at SUNY Upstate Medical University that uses genetically engineered mouse and human stem cells, and he had come to Shenzhen to talk about restarting his addiction research on primates.

Here’s comes the competition (from Zhang’s article; Note: Links have been removed),

While the U.S. government’s biomedical research budget has been largely flat, both national and local governments in China are eager to raise their international scientific profiles, and they are shoveling money into research. A long-rumored, government-sponsored China Brain Project is supposed to give neuroscience research, and primate models in particular, a big funding boost. Chinese scientists may command larger salaries, too: Thanks to funding from the Shenzhen local government, a new principal investigator returning from overseas can get 3 million yuan—almost half a million U.S. dollars—over his or her first five years. China is even finding success in attracting foreign researchers from top U.S. institutions like Yale.

In the past few years, China has seen a miniature explosion of genetic engineering in monkeys. In Kunming, Shanghai, and Guangzhou, scientists have created monkeys engineered to show signs of Parkinson’s, Duchenne muscular dystrophy, autism, and more. And Feng’s group is not even the only one in China to have created Shank3 monkeys. Another group—a collaboration primarily between researchers at Emory University and scientists in China—has done the same.

Chinese scientists’ enthusiasm for CRISPR also extends to studies of humans, which are moving much more quickly, and in some cases under less oversight, than in the West. The first studies to edit human embryos and first clinical trials for cancer therapies using CRISPR have all happened in China. [emphases mine]

Some ethical issues are also covered (from Zhang’s article),

Parents with severely epileptic children had asked him if it would be possible to study the condition in a monkey. Feng told them what he thought would be technically possible. “But I also said, ‘I’m not sure I want to generate a model like this,’” he recalled. Maybe if there were a drug to control the monkeys’ seizures, he said: “I cannot see them seizure all the time.”

But is it ethical, he continued, to let these babies die without doing anything? Is it ethical to generate thousands or millions of mutant mice for studies of brain disorders, even when you know they will not elucidate much about human conditions?

Primates should only be used if other models do not work, says Feng, and only if a clear path forward is identified. The first step in his work, he says, is to use the Shank3 monkeys to identify the changes the mutations cause in the brain. Then, researchers might use that information to find targets for drugs, which could be tested in the same monkeys. He’s talking with the Oregon National Primate Research Center about carrying out similar work in the United States. ….[Note: I have a three-part series about CRISPR and germline editing* in the US, precipitated by research coming out of Oregon, Part 1, which links to the other parts, is here.]

Zhang’s June 8, 2018 article is excellent and I highly recommend reading it.

I touched on the topic of xenotransplanttaion in a commentary on a book about the science  of the television series, Orphan Black in a January 31,2018 posting (Note: A chimera is what you use to incubate a ‘human’ organ for transplantation or, more accurately, xenotransplantation),

On the subject of chimeras, the Canadian Broadcasting Corporation (CBC) featured a January 26, 2017 article about the pig-human chimeras on its website along with a video,

The end

I am very excited to see Piccinini’s work come to Vancouver. There have been a number of wonderful art and art/science installations and discussions here but this is the first one (I believe) to tackle the emerging gene editing technologies and the issues they raise. (It also fits in rather nicely with the 200th anniversary of the publication of Mary Shelley’s Frankenstein which continues to raise issues and stimulate discussion.)

In addition to the ethical issues raised in Zhang’s article, there are some other philosophical questions:

  • what does it mean to be human
  • if we are going to edit genes to create hybrid human/animals, what are they and how do they fit into our current animal/human schema
  • are you still human if you’ve had an organ transplant where the organ was incubated in a pig

There are also going to be legal issues. In addition to any questions about legal status, there are also fights about intellectual property such as the one involving Harvard & MIT’s [Massachusetts Institute of Technology] Broad Institute vs the University of California at Berkeley (March 15, 2017 posting)..

While I’m thrilled about the Piccinini installation, it should be noted the issues raised by other artworks hosted in this version of the Biennale are important. Happily, they have been broached here in Vancouver before and I suspect this will result in more nuanced  ‘conversations’ than are possible when a ‘new’ issue is introduced.

Bravo 2018 – 2020 Vancouver Biennale!

* Germline editing is when your gene editing will affect subsequent generations as opposed to editing out a mutated gene for the lifetime of a single individual.

Art/sci and CRISPR links

This art/science posting may prove of some interest:

The connectedness of living things: an art/sci project in Saskatchewan: evolutionary biology (February 16, 2018)

A selection of my CRISPR posts:

CRISPR and editing the germline in the US (part 1 of 3): In the beginning (August 15, 2017)

NOTE: An introductory CRISPR video describing how CRISPR/Cas9 works was embedded in part1.

Why don’t you CRISPR yourself? (January 25, 2018)

Editing the genome with CRISPR ((clustered regularly interspaced short palindromic repeats)-carrying nanoparticles (January 26, 2018)

Immune to CRISPR? (April 10, 2018)

Kerry James Marshall: a ‘song’ of racism in multiple media

Racism and social justice are two themes often found in the works featured at the Rennie Museum (formerly Rennie Collection). Local real estate marketer, Bob Rennie has been showing works there from his collection since at least 2009 when I wrote my first commentary about it (December 4, 2009).

Kerry James Marshall, the latest artist to have his work featured (June 2 – November 3, 2018), carries on the tradition while making those artistic ‘themes’ his own n a breathtaking (in both its positive and negative meanings) range of styles and media.

Here’s a brief description of some of the works, from an undated Rennie Museum press release,

Rennie Museum presents a survey of works by Kerry James Marshall spanning thirty-two years of the artist’s career. Kerry James Marshall: Collected Works features pieces from the artist’s complex body of work, which interrogates the sparse historical presence of African-Americans through painting, sculpture, drawing and other media. …

The sculptural installation Untitled (Black Power Stamps) (1998) [emphasis mine], Marshall’s very first work acquired by Bob Rennie, aptly sets the tone of the exhibition. Five colossal stamps and their corresponding ink pads are dispersed over the floor of the museum’s four-story high gallery space. Inscribed on each stamp, and reiterated on the walls, are phrases of power dating back to the Civil Rights Movement: ‘Black is Beautiful’, ‘Black Power’, ‘We Shall Overcome’, ‘By Any Means Necessary’, and ‘Burn Baby Burn’. The sentiment reverberates through the three 18 feet (5.5 metre) wide paintings installed in the same room, respectively titled Untitled (Red) (2011), Untitled (Black) and Untitled (Green) (2012). Exhibited together for the first time in North America, the imposing paintings with their colours saluting the Pan African flag echo the form of Barnett Newman’s Who’s Afraid of Red, Yellow and Blue III (1967).

Commanding attention in the center of another room is Wake (2003-2005) [emphasis mine], a sculptural work that focuses on the collective trauma of slavery. Draped atop a blackened model sailboat is a web of medallions featuring portraits of descendants of the approximately twenty African slaves who first landed in Jamestown, Virginia in 1607. Atop a polished black base evoking the deep seas, the medallions cascade over and behind the mourning vessel in a gilded procession, cast out in the boat’s wake. The work commemorates an entire lineage of people whose lives have been irrevocably affected by the traumatic history of slavery in the United States, while simultaneously celebrating the resilience and vivacity of the culture that flourished from it.

Garden Party (2004-2013) [emphasis mine] is a long-coveted painting that Marshall re-worked over the course of almost ten years. Created in a style that harkens 19th century impressionist paintings, the work depicts a scene of leisure – an array of multi-ethnic friends and neighbours casually gathered in a backyard of a social housing project. Painted on a flat canvas tarp and hung barely off the floor, the image highlights an often-overlooked perspective of the vibrant everyday life in the projects and invites its viewers to join in the gathering.

In a dimmed room is Invisible Man (1986) [emphasis mine] – a historic work and one of the first to feature Marshall’s now iconic black on black tonal painting. Referencing Ralph Ellison’s 1952 novel of the same title, Marshall’s work literalizes the premise of black invisibility. Only distinguishable by his bright-white eyes and teeth, and the subtle warmth that delineates black body from black background, Marshall’s figure, like Ellison’s protagonist, subverts his own invisibility, using colour as an emblem of power rather than of submission. The work’s presentation at Rennie Museum provides an opportunity for viewers to explore the full mastery with which Kerry James Marshall layers his various shades of black.

As always, you book a tour or claim a space on a tour (here) to see the latest exhibition and are guided through the gallery spaces. What follows is a series of pictures depicting the Marshall pieces in that first room (from the Rennie Museum’s photographic documentation for Marshall’s work), Note: There are five pages of documentation and I encourage you to look at all five,

Installation View. Courtesy:: Rennie Museum

Blot, 2014. acrylic on pvc panel 84 × 119 5/8 × 3 3/8 inches (213 × 304 × 9 cm). Courtesy: Rennie Museum

Sculpture (Ibeji), 2006. wood, fabric, beads 24 × 12 × 14 inches (61 × 30 × 36 cm) Courtesy: Rennie Museum

Heirlooms and Accessories, 2002. 3 inkjet prints on wove paper, rhinestone encrusted wooden artist’s frames each: 56 5/8 × 53 3/4 inches (144 × 137 cm) Courtesy: Rennie Museum

I’ve placed the pieces in the order in which I viewed them. Being at the opening event on June 2, 2018 meant that rather than having a tour, we were ‘invited’ to look at the pieces and ask questions of various ‘attendants’ standing nearby. The ‘Blot’, with all that colour, immediate drew my attention and not having read the title of the piece, I commented on its resemblance to a Rorschach Inkblot. It was my only successful guess of the visit and I continue to bask in it.

According to the attendant, in addition to resembling said inkblot, this piece also addresses abstract expressionism and the absence of African American visual artists from the movement. In this piece as with many others, Marshall finds a way to depict absence despite the paradox (a picture of absence) in terms.

‘Heirlooms and Accessories’ is an example of Marshall’s talent for depicting absence. At first glance the piece seems benign. There is a kind of double frame. The outermost frame is white and inside (abutting the artwork) a diamante braid has been added all around it to create a double frame. The braid is very pretty and accentuates the lockets depicted in the image. There are three white women pictured in their lockets and beneath those lockets and the white paint lay images of African Americans being lynched. The women, by the way, were complicit in the lynchings. It was deeply unsettling to learn this as my friend and I had just moments before been admiring the diamante braid.

Marshall’s work seems designed to force the viewer to look beneath the surface, which means stripping away layers, which with ‘Heirlooms’ means that you strip away the whitewashing.

As a white woman, the show is a profoundly disturbing  experience. Marshall’s range of materials and mastery are breathtaking (in the positive sense) and the way he seduces the (white) viewer into coming closer and experiencing the painting, metaphorically speaking, as a mirror rather than a picture. Marshall has flipped the viewer’s experience making it impossible (or very difficult) to blame racism on other people while failing to recognize your own sins.

The third piece in the room, the sculpture is a representation of a standard of beauty still not often seen in popular culture in North America. Weirdly, it reminded me of something from a December 21, 2017 posting on the LaineyGossip blog,

[downloaded from http://www.laineygossip.com/princess-michael-of-kent-racist-jewelry-greets-meghan/48728]

I don’t know well you can see this, but it’s an example of ‘Blackamoor jewellery’. The woman wearing it is Princess Michael of Kent and at the time the picture was taken she was on her to a Christmas 2017 lunch with the Queen of England. The lunch is where she was to meet Meghan Markle who describes herself as a woman of mixed race and is now the Duchess of Sussex and married to the Queen’s grandson, Harry. For anyone unfamiliar with ‘Blackmoor art’ here’s a July 31, 2015 essay by Anneke Rautenbach for New York University,

… Blackamoors—a trope in Italian decorative art especially common in pieces of furniture, but also appearing in paintings, jewelry, and textiles. The motif emerged as an artistic response to the European encounter with the Moors—dark-skinned Muslims from North Africa and the Middle East who came to occupy various parts of Europe during the Middle Ages. Commonly fixed in positions of servitude—as footmen or waiters, for example—the figures personify fantasies of racial conquest.

I trust Princess Michael was made to remove her brooch before entering the palace.

The contrast between Marshall’s sculpture emphasizing the dignity and beauty of the figure and the ‘jewellery’ is striking. The past, as Marshall reminds us, is always with us. From Rautenback’s July 31, 2015 essay (Note: A link has been removed),

Gaudy by nature, and uncomfortably dated—a bit like the American lawn jockey, or Aunt Jemima doll— … Blackamoors are still a thriving industry, with the United States as their no. 1 importer. (In fact, the figurines are especially popular in Texas and Connecticut—search “Blackamoor” online and you’ll find countless listings on eBay, Etsy, and elsewhere.) Unlike their American counterparts, which focus mostly on romanticizing scenes from the era of slavery, these European ornaments often depict black bodies as exotic noblemen. And not everyone considers them passé: As recently as September 2012, the Italian fashion house Dolce & Gabbana invited outrage when it included a caricatured black woman figurine on an earring as part of its spring/summer collection.

Encountering bias and (conscious or unconscious) racism in one’s self is both deeply  chastening and a priceless gift.  It’s one that comedienne Roseanne Barr seems determined to refuse (from a June 14, 2018 article by Marissa Martinelli for Slate.com (Note: Link have been removed),

Barr […] suggested on Thursday [June 14, 2018] that it is only “low IQ” people who would interpret describing a black woman as “Muslim Brotherhood & planet of the apes had a baby” as racist. The real explanation is apparently much deeper:

Roseanne BarrVerified account @therealroseanne

Rod Serling wrote Planet of The Apes. It was about anti-semitism. That is what my tweet referred to-the anti semitism of the Iran deal. Low IQ ppl can think whatever they want.

Low IQ people and Rod Serling’s screenwriting join Ambien and Memorial Day on the growing list of entities that Barr has used to justify the racist tweet over the past two weeks. The one person whose name you will not find on that list of people responsible for what Roseanne Barr said is Roseanne Barr herself.

Even with such an obvious tweet, Barr can’t (consistently) admit to and (consistently) apologize for her comment. It may not seem like a gift to her but it is. Facing up to one’s sins and making reparation can help heal the extraordinary wounds that Marshall is making visible.

You may have noticed that I called this show ‘a song of racism’. It’s a reference to poetry which in ancient times was sometimes referred to as a song (Song of Solomon, anyone?). It was also a narrative instrument, i. e., used for storytelling for an active, participatory audience.

Marshall tells a story in allusive language (like poetry) and tricks/seduces you into participating.

On that note, I have one last story to tell and it’s about the placement of Marshall’s artworks in the first floor room. It’s my story, yours and Marshall’s might be different but he has inspired me and so …

The ‘Blot’ or Rorschach Inkblot is a test, which tells a psychologist something about you and how you apprehend the world. It’s the first piece you see when you enter the Rennie Museum space and it sets the tone for all that is to come.  What you see says much about you.

The women, in the sculpture and the lockets, provide contrast and, depending on your race, hold a mirror to you. What is ‘other’ and what is ‘you’?

There was religious imagery in much of Marshall’s work elsewhere and I was particularly struck with the hearts that appeared in some of his paintings. I was reminded of the ‘sacred heart’, a key piece of religious iconography usually associated with Roman Catholicism although other religions also use the imagery.

It is a symbol of love and compassion although I’ve always associated it more with guilt. (My mother favoured the version featuring the heart pierced with a crown of thorns.)

Getting back to “What is ‘other’ and what is ‘you’?” Marshall seems to be hinting that after guilt and suffering, forgiveness is possible.

That’s my story and I’m sticking to it.

As for Marshall, he is a thoughtful artist asking some difficult questions. I hope you’ll get a chance to see his work at the Rennie Museum. As I write this, every tour through June is completely booked and first set of July tours is getting booked fast. You’d best keep an eagle eye on the Visit page.

ETA June18, 2018: Kerry James Marshall was in Vancouver and gave this talk about his work just prior to the show’s opening: https://vimeo.com/274179397 (It runs for roughly 1 hr. and 49 minutes.)

A dance with love and fear: the Yoko Ono exhibit and the Takashi Murakami exhibit in Vancouver (Canada)

It seems Japanese artists are ‘having a moment’. There’s a documentary (Kusama—Infinity) about contemporary Japanese female artist, Yayoi Kusama, making the festival rounds this year (2018). Last year (2017), the British Museum mounted a major exhibition of Hokusai’s work (19th Century) and in 2017, the Metropolitan Museum of Art Costume Institute benefit was inspired by a Japanese fashion designer, “Rei Kawakubo/Comme des Garçons: Art of the In-Between.” (A curator at the Japanese Garden in Portland who had lived in Japan for a number of years mentioned to me during an interview that the Japanese have one word for art. There is no linguistic separation between art and craft.)

More recently, both Yoko Ono and Takashi Murakami have had shows in Vancouver, Canada. Starting with fear as I prefer to end with love, Murakami had a blockbuster show at the Vancouver Gallery.

Takashi Murakami: a dance with fear (and money too)

In the introductory notes at the beginning of the exhibit: “Takashi Murakami: The Octopus Eats Its own Leg,” it was noted that fear is one of Murakami’s themes. The first few pieces in the show had been made to look faded and brownish to the point where you had to work at seeing what was underneath the layers. The images were a little bit like horror films something’s a bit awry then scary and you don’t know what it is or how to deal with it.

After those images, the show opened up to bright, bouncy imagery commonly associated with Mrjakami’s work. However, if you look at them carefully, you’ll see many of these characters have big, pointed teeth. Also featured was a darkened room with two huge warriors.At a guess, I’d say they were 14 feet tall.

It  made for a disconcerting show with its darker themes usually concealed in bright, vibrant colour. Here’s an image promoting Murakami’s Vancouver birthday celebration and exhibit opening,

‘Give me the money, now!’ says a gleeful Takashi Murakami, whose expansive show is currently at the Vancouver Art Gallery. Photo by the VAG. [downloaded from https://thetyee.ca/Culture/2018/02/07/Takashi-Murakami-VAG/]

The colours and artwork shown in the marketing materials (I’m including the wrapping on the gallery itself) were  exuberant as was Murakami who acted as his own marketing material. I’m mentioning the money It’s very intimately and blatantly linked to Murakami’s art and work.  Dorothy Woodend in a Feb. 7, 2018 article for The Tyee puts it this way (Note: Link have been removed),

The close, almost incestuous relationship between art and money is a very old story. [emphasis mine] You might even say it is the only story at the moment.

You can know this, understand it to a certain extent, and still have it rear up and bite you on the bum. [emphasis mine] Such was my experience of attending the exhibition preview of Takashi Murakami’s The Octopus Eats Its Own Leg at the Vancouver Art Gallery.

The show is the first major retrospective of Murakami’s work in Canada, and the VAG has spared no expense in marketing the living hell out of the thing. From the massive cephalopod installed atop the dome of the gallery, to the ocean of smiling cartoon flowers, to the posters papering every inch of downtown Vancouver, it is in a word: huge.

If you don’t know much about Murakami the show is illuminating, in many different ways. Expansive in extremis, the exhibition includes more than 50 works that trace a path through the evolution of Murakami’s style and aesthetic, moving from his early dark textural paintings that blatantly ripped off Anselm Kiefer, to his later pop-art style (Superflat), familiar from Kanye West albums and Louis Vuitton handbags.

make no mistake, money runs underneath the VAG show like an engine [emphasis mine]. You can feel it in the air, thrumming with a strange radioactive current, like a heat mirage coming off the people madly snapping selfies next to the Kanye Bear sculpture.

The artist himself seems particularly aware of how much of a financial edifice surrounds the human impulse to make images. In an on-stage interview with senior VAG [Vancouver Art Gallery] curator Bruce Grenville during a media preview for the show, Murakami spoke plainly about the need for survival (a.k.a. money) [emphasis mine] that has propelled his career.

Even the title of the show speaks to the notion of survival (from Woodend’s article; Note: Links have been removed),

The title of the show takes inspiration from Japanese folklore about a creature that sacrifices part of its own body so that the greater whole might survive. In the natural world, an octopus will chew off its own leg if there is an infection, and then regrow the missing limb. In the art world, the idea pertains to the practice of regurgitating (recycling) old ideas to serve the endless voracious demand for new stuff. “I don’t have the talent to come up with new ideas, so in order to survive, you have to eat your own body,” Murakami explains, citing his need for deadlines, and very bad economic conditions, that lead to a state of almost Dostoyevskyian desperation. “Please give me the money now!” he yells, and the assembled press laughs on cue.

The artist’s responsibility to address larger issues like gender, politics and the environment was the final question posed during the Q&A, before the media were allowed into the gallery to see the work. Murakami took his time before answering, speaking through the nice female translator beside him. “Artists don’t have that much power in the world, but they can speak to the audience of the future, who look at the artwork from a certain era, like Goya paintings, and see not just social commentary, but an artistic point of view. The job of the artist is to dig deep into human beings.”

Which is a nice sentiment to be sure, but increasingly art is about celebrity and profit. Record-breaking shows like Alexander McQueen’s Savage Beauty and Rei Kawakubo/Comme des Garçons: Art of the In-Between demonstrated an easy appeal for both audiences and corporations. One of Murakami’s earlier exhibitions featured a Louis Vuitton pop-up shop as part of the show. Closer to home, the Fight for Beauty exhibit mixed fashion, art and development in a decidedly queasy-making mixture.

There is money to be made in culture of a certain scale, with scale being the operative word. Get big or get out.

Woodend also relates the show and some of the issues it raises to the local scene (Note: Links have been removed),

A recent article in the Vancouver Courier about the Oakridge redevelopment plans highlighted the relationship between development and culture in raw numbers: “1,000,000 square feet of retail, 2,600 homes for 6,000 people, office space for 3,000 workers, a 100,000-square-foot community centre and daycare, the city’s second-largest library, a performing arts academy, a live music venue for 3,000 people and the largest public art program in Vancouver’s history…”

Westbank’s Ian Gillespie [who hosted the Fight for Beauty exhibit] was quoted extensively, outlining the integration between the city and the developer. “The development team will also work with the city’s chief librarian to figure out the future of the library, while the 3,000-seat music venue will create an ‘incredible music scene.’” The term “cultural hub” also pops up so many times it’s almost funny, in a horrifying kind of way.

But bigness often squeezes out artists and musicians who simply can’t compete. Folk who can’t fill a 3,000-seat venue, or pack in thousands of visitors, like the Murakami show, are out of luck.

Vancouver artists, who struggle to survive in the city and have done so for quite some time, were singularly unimpressed with the Oakridge development proposal. Selina Crammond, a local musician and all-around firebrand, summed up the divide in a few eloquent sentences: “I mean really, who is going to make up this ‘incredible music scene’ and fill all of these shiny new venues? Many of my favourite local musicians have already moved away from Vancouver because they just can’t make it work. Who’s going to pay the musicians and workers? Who’s going to pay the large ticket prices to be able to maintain these spaces? I don’t think space is the problem. I think affordability and distribution of wealth and funding are the problems artists and arts workers are facing.”

The stories continue to pop up, the most recent being the possible sale and redevelopment of the Rio Theatre. The news sparked an outpouring of anger, but the story is repeated so often in Vancouver, it has become something of a cliché. You need only to look at the story of the Hollywood Theatre for a likely ending to the saga.

Which brings me back around to the Murakami exhibit. To be perfectly frank, the show is incredible and well-worth visiting. I enjoyed every minute of wandering through it taking in the sheer expanse of mind-boggling, googly-eyed detail. I would urge you to attend, if you can afford it. But there’s the rub. I was there for free, and general admission to the VAG is $22.86. This may not seem like a lot, but in a city where people can barely make rent, culture becomes the purview of them that can afford it.

The City of Vancouver recently launched its Creative Cities initiative to look at issues of affordability, diversity and gentrification.

We shall see if anything real emerges from the process. But in the meantime, Vancouver artists might have to eat their own legs simply to survive. [Tyee]

Survival issues and their intimate companions, fear, are clearly a major focus for Murakami’s art.

For the curious, the Vancouver version of the Murakami retrospective show was held from February 3 – May 6, 2018. There are still some materials about the show available online here.

Yoko Ono and the power of love (and maybe money, too)

More or less concurrently with the Murakami exhibition, the Rennie Museum (formerly Rennie Collection), came back from a several month hiatus to host a show featuring Yoko Ono’s “Mend Piece.”

From a Rennie Museum (undated) press release,

Rennie Museum is pleased to present Yoko Ono’s MEND PIECE, Andrea Rosen Gallery, New York City version (1966/2015). Illustrating Ono’s long standing artistic quest in social activism and world peace, this instructional work will transform the historic Wing Sang building into an intimate space for creative expression and bring people together in an act of collective healing and meditation. The installation will run from March 1 to April 15, 2018.

First conceptualized in 1966, the work immerses the visitor in a dream-like state. Viewers enter into an all-white space and are welcomed to take a seat at the table to reassemble fragments of ceramic coffee cups and saucers using the provided twine, tape, and glue. Akin to the Japanese philosophy of Wabi-sabi, an embracing of the flawed or imperfect, Mend Piece encourages the participant to transform broken fragments into an object that prevails its own violent rupture. The mended pieces are then displayed on shelves installed around the room. The contemplative act of mending is intended to promote reparation starting within one’s self and community, and bridge the gap created by violence, hatred, and war. In the words of Yoko Ono herself, “Mend with wisdom, mend with love. It will mend the earth at the same time.”

The installation of MEND PIECE, Andrea Rosen Gallery, New York City version at Rennie Museum will be accompanied by an espresso bar, furthering the notions of community and togetherness.

Yoko Ono (b. 1933) is a Japanese conceptual artist, musician, and peace activist pioneering feminism and Fluxus art. Her eclectic oeuvre of performance art, paintings, sculptures, films and sound works have been shown at renowned institutions worldwide, with recent exhibitions at The Museum of Modern Art, New York; Copenhagen Contemporary, Copenhagen; Museum of Contemporary Art, Tokyo; and Museo de Arte Latinoamericano de Buenos Aires. She is the recipient of the 2005 IMAJINE Lifetime Achievement Award and the 2009 Venice Biennale Golden Lion for Lifetime Achievement, among other distinctions. She lives and works in New York City.

While most of the shows have taken place over two, three, or four floors, “Mend Piece” was on the main floor only,

Courtesy: Rennie Museum

There was another “Mend Piece” in Canada, located at the Gardiner Museum and part of a larger show titled: “The Riverbed,” which ran from February 22 to June 3, 2018. Here’s an image of one of the Gardiner Museum “Mend” pieces that was featured in a March 7, 2018 article by Sonya Davidson for the Toronto Guardian,

Yoko Ono, Mend Piece, 1966 / 2018, © Yoko Ono. Photo: Tara Fillion Courtesy: Toronto Guardian

Here’s what Davidson had to say about the three-part installation, “The Riverbed,”

I’m sitting  on one of the cushions placed on the floor watching the steady stream of visitors at Yoko Ono’s exhibition The Riverbed at the Gardiner Museum. The room is airy and bright but void of  colours yet it’s vibrant and alive in a calming way. There are three distinct areas in this exhibition: Stone Piece, Line Piece and Mend Piece. From what I’ve experienced in Ono’s previous exhibitions, her work encourages participation and is inclusive of everyone. She has the idea. She encourages us to  go collaborate with her. Her work is describe often as  redirecting our attention to ideas, instead of appearances.

Mend Piece is the one I’m most familiar with. It was part of her exhibition I visited in Reykjavik [Iceland]. Two large communal tables are filled with broken ceramic pieces and mending elements. Think glue, string, and tape.  Instructions from Ono once again are simple but with meaning. Take the pieces that resonate with you and mend them as you desire. You’re encourage [sic] to leave it in the communal space for everyone to experience what you’ve experienced. It reminded me of her work decades ago where she shattered porcelain vases, and people invited people to take a piece with them. But then years later she collected as many back and mended them herself. Part contemporary with a nod to the traditional Japanese art form of Kintsugi – fixing broken pottery with gold and the philosophy of nothing is ever truly broken. The repairs made are part of the history and should be embraced with honour and pride.

The experience at the Rennie was markedly different . I recommend reading both Davidson’s piece (includes many embedded images) in its entirety to get a sense for how different and this April 7, 2018 article by Jenna Moon for The Star regarding the theft of a stone from The Riverbed show at the Gardiner,

A rock bearing Yoko Ono’s handwriting has been stolen from the Gardiner Museum, Toronto police say. The theft reportedly occurred around 5:30 p.m. on March 12.

The rock is part of an art exhibit featuring Ono, where patrons can meditate using several river rocks. The stone is inscribed with black ink, and reads “love yourself” in block letters. It is valued at $17,500 (U.S.), [emphasis mine] Toronto police media officer Gary Long told the Star Friday evening.

As far as I can tell, they still haven’t found the suspect who was described as a woman between the ages of 55 and 60. However the question that most interests me is how did they arrive at a value for the stone? Was it a case of assigning a value to the part of the installation with the stones and dividing that value by the number of stones? Yoko Ono may focus her art on social activism and peace but she too needs money to survive. Moving on.

Musings on ‘mend’

Participating in “Mend Piece” at the Rennie Museum was revelatory. It was a direct experience of the “traditional Japanese art form of Kintsugi – fixing broken pottery with gold and the philosophy of nothing is ever truly broken.” So often art is at best a tertiary experience for the viewer. The artist has the primary experience producing the work and the curator has the secondary experience of putting the show together.

For all the talk about interactive installations and pieces, there are few that truly engage the viewer with the piece. I find this rule applies: the more technology, the less interactivity.

“Mend” insisted on interactivity. More or less. I went with a friend and sat beside the one person in the group who didn’t want to talk to anyone. And she wasn’t just quiet, you could feel the “don’t talk to me” vibrations pouring from every one of her body parts.

The mending sessions were about 30 minutes long and, as Davidson notes, you had string, two types of glue, and twine. For someone with any kind of perfectionist tendencies (me) and a lack of crafting skills (me), it proved to be a bit of a challenge, especially with a semi-hostile person beside me. Thank goodness my friend was on the other side.

Adding to my travails was the gallery assistant (a local art student) who got very anxious and hovered over me as I attempted and failed to set my piece on a ledge in the room (twice). She was very nice and happy to share, without being intrusive, information about Yoko Ono and her work while we were constructing our pieces. I’m not sure what she thought was going to happen when I started dropping things but her hovering brought back memories of my adolescence when shopkeepers would follow me around their store.

Most of my group had finished and even though there was still time in my session, the next group rushed in and took my seat while I failed for the second time to place my piece. I stood for my third (and thankfully successful) repair attempt.

At that point I went to the back where more of the “Mend” communal experience awaited. Unfortunately, the coffee bar’s (this put up especially for the show) espresso machine was not working. There was some poetry on the walls and a video highlighting Yoko Ono’s work over the years and the coffee bar attendant was eager to share (but not intrusively so) some information about Yoko and her work.

As I stated earlier, it was a revelatory experience. First, It turned out my friend had been following Yoko’s work since before the artist had hooked up with John Lennon and she was able to add details to the attendants’ comments.

Second, I didn’t expect was a confrontation with the shards of my past and personality. In essence, mending myself and, hopefully, more. There was my perfectionism, rejection by the unfriendly tablemate, my emotional response (unspoken) to the hypervigilant gallery assistant, having my seat taken from me before the time was up, and the disappointment of the coffee bar. There was also a rediscovery of my friend, a friendly tablemate who made a beautiful object (it looked like a bird), the helpfulness of both the gallery assistants, Yoko Ono’s poetry, and a documentary about the remarkable Yoko.

All in all, it was a perfect reflection of imperfection (wabi-sabi), brokenness, and wounding in the context of repair (Kintsugi)/healing.

Thank you, Yoko Ono.

For anyone in Vancouver who feels they missed out on the experience, there are some performances of “Perfect Imperfections: The Art of a Messy Life” (comedy, dance, and live music) at Vancity Culture Lab at The Cultch from June 14 – 16, 2018. You can find out more here.

The moment

It certainly seems as if there’s a great interest in Japanese art, if you live in Vancouver (Canada), anyway. The Murakami show was a huge success for the Vancouver Art Gallery. As for Yoko Ono, the Rennie Museum extended the exhibit dates due to demand. Plus, the 2018 – 2020 version of the Vancouver Biennale is featuring (from a May 29, 2018 Vancouver Biennale news release),

… Yoko Ono with its 2018 Distinguished Artist Award, a recognition that coincides with reissuing the acclaimed artist’s 2007 Biennale installation, “IMAGINE PEACE,” marshalled at this critical time to re-inspire a global consciousness towards unity, harmony, and accord. Yoko Ono’s project exemplifies the Vancouver Biennale’s mission for diverse communities to gain access, visibility and representation.

The British Museum’s show (May 25 – August 13, 2017), “Hokusai’s Great Wave,” was seen in Vancouver at a special preview event in May 2017 at a local movie house, which was packed.

The documentary film festival, DOXA (Vancouver) closed its 2018 iteration with the documentary about Yayoi Kusama. Here’s more about her from a May 9, 2018 article by Janet Smith for the Georgia Straight,

Amid all the dizzying, looped-and-dotted works that American director Heather Lenz has managed to capture in her new documentary Kusama—Infinity, perhaps nothing stands out so much as images of the artist today in her Shinjuku studio.

Interviewed in the film, the 89-year-old Yayoi Kusama sports a signature scarlet bobbed anime wig and hot-pink polka-dotted dress, sitting with her marker at a drawing table, and set against the recent creations on her wall—a sea of black-and-white spots and jaggedy lines.

“The boundary between Yayoi Kusama and her art is not very great,” Lenz tells the Straight from her home in Orange County. “They are one and the same.”

It was as a young student majoring in art history and fine art that Lenz was first drawn to Kusama—who stood out as one of few female artists in her textbooks. She saw an underappreciated talent whose avant-pop works anticipated Andy Warhol and others. And as Lenz dug deeper into the artist’s story, she found a woman whose struggles with a difficult childhood and mental illness made her achievements all the more remarkable.

Today, Kusama is one of the world’s most celebrated female artists, her kaleidoscopic, multiroom show Infinity Mirrors drawing throngs of visitors to galleries like the Art Gallery of Ontario and the Seattle Art Museum over the past year. But when Lenz set out to make her film 17 long years ago, few had ever heard of Kusama.

I am hopeful that this is a sign that the Vancouver art scene is focusing more attention to the west, to Asia. Quite frankly, it’s about time.

As a special treat, here’s a ‘Yoko Ono tribute’ from the Bare Naked Ladies,

Dance!

May 16, 2018: UNESCO’s (United Nations Educational, Scientific and Cultural Organization) First International Day of Light

Courtesy: UNESCO

From a May 11, 2018 United Nations Educational, Scientific and Cultural Organization (UNESCO) press release (received via email),

UNESCO will welcome leading scientists on 16 May 2018 for the 1st edition of the International Day of Light (02:30-08:00 pm) to celebrate the role light plays in our daily lives. Researchers and intellectuals will examine how light-based technologies can contribute to meet pressing challenges in diverse areas, such as medicine, education, agriculture and energy.

            UNESCO Director-General Audrey Azoulay will open this event, which will count with the participation of renowned scientists, including:

  • Kip Thorne, 2017 Nobel Prize in Physics, California Institute of Technology (United States of America).
  • Claude Cohen-Tannoudji, 1997 Nobel Prize in Physics, Collège de France.
  • Khaled Toukan, Director of the Synchrotron-light for Experimental Science and Applications in the Middle East (SESAME) based in Allan, Jordan.

The programme of keynotes and roundtables will address many key issues including science policy, our perception of the universe, and international cooperation, through contributions from experts and scientists from around the world.

The programme also includes cultural events, an illumination of UNESCO Headquarters, a photonics science show and an exhibit on the advances of light-based technologies and art.

            The debates that flourished in 2015, in the framework of the International Year of Light, highlighted the importance of light sciences and light-based technologies in achieving the United Nations Sustainable Development Goals. Several thousand events were held in 147 countries during the Year placed under the auspices of UNESCO.  

The proclamation of 16 May as the International Day of Light was supported by UNESCO’s Executive Board following a proposal by Ghana, Mexico, New Zealand and the Russian Federation, and approved by the UNESCO General Conference in November 2017.

More information:

I have taken a look at the programme which is pretty interesting. Unfortunately, I can’t excerpt parts of it for inclusion here as very odd things happen when I attempt to ‘copy and paste’. On the plus side. there’s a bit more information about this ‘new day’ on its event page,

Light plays a central role in our lives. On the most fundamental level, through photosynthesis, light is at the origin of life itself. The study of light has led to promising alternative energy sources, lifesaving medical advances in diagnostics technology and treatments, light-speed internet and many other discoveries that have revolutionized society and shaped our understanding of the universe. These technologies were developed through centuries of fundamental research on the properties of light – starting with Ibn Al-Haytham’s seminal work, Kitab al-Manazir (Book of Optics), published in 1015 and including Einstein’s work at the beginning of the 20th century, which changed the way we think about time and light.

The International Day of Light celebrates the role light plays in science, culture and art, education, and sustainable development, and in fields as diverse as medicine, communications, and energy. The will allow many different sectors of society worldwide to participate in activities that demonstrates how science, technology, art and culture can help achieve the goals of UNESCO – building the foundation for peaceful societies.

The International Day of Light is celebrated on 16 May each year, the anniversary of the first successful operation of the laser in 1960 by physicist and engineer, Theodore Maiman. This day is a call to strengthen scientific cooperation and harness its potential to foster peace and sustainable development.

Happy International Day of Light on Wednesday, May 16, 2018!

Curiosity Collider event: May 16, 2018 and exhibit: June 8 – 22, 2018 in Vancouver (Canada)

I have two bits of news from the Curiosity Collider folks. One event is part of their regular Collider Cafe series and the other is a special event.

Collider Cafe: Art. Science. Chronicles.

From the Curiosity Collider May 16, 2018 event page,

Collider Cafe: Art. Science. Chronicles.

Map Unavailable

Date/Time
Date(s) – 16/05/2018
8:00 pm – 9:30 pm

Location
Café Deux Soleils

 

#ColliderCafe is a space for artists, scientists, makers, and anyone interested in art+science. Meet. Discover. Connect. Create.

Are you curious? Join us at “Collider Cafe: Art. Science. Chronicles.” to explore how art and science intersect in the exploration of curiosity.

  • Armin Mortazavi (science cartoonist): Scientooning Adventures
  • Cheryl Hamilton (conceptual artist): Image Analysis – inspirations from cancer research
  • Kayla Glynn (science communicator and researcher): True, Personal Stories About Science
  • Marlene Swidzinski (comedian, humorist, and technical writer/editor): Travelling at the Speed of Oy / That Joke Would Kill at a Physics Convention
  • Rachel Rozanski (artist): In Between Tides

The event starts promptly at 8pm (doors open at 7:30pm). $5.00-10.00 (sliding scale) cover at the door. Proceeds will be used to cover the cost of running this event, and to fund future Curiosity Collider events. Curiosity Collider is a registered BC non-profit organization.

Visit our Facebook page to let us know you are coming, and see event updates and speaker profiles.

Interstitial

This upcoming exhibit was first mentioned here in a March 27, 2018 posting in the context of a call for submissions. I’m glad to see they have moved onto the exhibit phase, from the Curiosity Collider ‘Interstitial’ event page,

Interstitial: Science Innovations by Canadian Women

Date/Time
Date(s) – 08/06/2018 – 22/06/2018
12:00 pm – 5:00 pm

Location
Beaumont Gallery

 

Interstitial: Science Innovations by Canadian Women is an exhibition with events in June 2018, showcasing 2D work by female artists featuring women in Science, Technology, Engineering, and Mathematics (STEM, or STEAM when Arts is included). Our approach intends to challenge the public as to how they think of women in STEM. What does it take for a woman to be “in” with the science community?

The importance of storytelling, and using art in the dissemination of scientific information, has grown in the past few years. The Sci/Art and STEAM movements have rapidly gained momentum. Creative outlets are critical to sharing science and stories of science, and to connecting with people on an personal level. We are establishing new connections in the community, and presenting women in STEM through a different experience.

This exhibition and associated events are created by women, feature women, and highlight the achievements of women in STEM. We seek to encourage girls and young women to see themselves as eligible for the opportunities available in STEAM industries, to connect with them beyond what is written in the books or taught in school. We present women as capable participants within the STEAM community. It is important that as women, we tell our own stories, support, and celebrate each other.

This event is curated by Larissa Blokhuis, Exhibitions Director, Curiosity Collider.

Opening Night: June 8, 2018 from 7pm till late

Art+Science Workshops on June 9 / 16. More information to come.

Artists

Cheryl Hamilton (oil paint on wood panel)

Cheryl Hamilton is a conceptual artist with a penchant for visual ingenuity.  A stickler for perfection, Cheryl imbues her design work with a kineticism inspired by her education as an animator at Vancouver’s Emily Carr Institute.  Her recent training in the techniques of glass blowing at Alberta’s Red Deer College and Pilchuck Glass School coupled with her metal-working expertise now enable her to animate light and colour within her monumental steel structures.  Cheryl also draws and paints and exhibits internationally. Her goal as an artist is to render an accessible beauty that withstands the test of time.

Ele Willoughby (linocut prints (water based inks) on Japanese paper)

Artist Ele Willoughby is a modern Renaissance woman.  After pursuing her doctorate in physics, she built her portfolio while working as an ocean-going marine geophysicist by day and printmaker by night.  Her hand-pulled block prints reflect her love of science and the natural world with a hint of humour and whimsy. Many of her works focus on the history of science and scientists.  She also makes interactive multimedia work, incorporating colour-changing or electrically conductive inks and electronics, which straddle the art/science divide. She lives and works in Toronto with her husband, and young son.

Paige Blumer (digital painting with photoshop printed on canvas)

Paige was born in Montreal Quebec where she had a competing passion for art and science.  She chose to pursue science and graduated with a bachelor’s degree in Kinesiology. Upon graduation, she decided to follow her yearning to pursue art, specifically cartoons, and applied to the Art Fundamentals program at Sheridan College in Ontario.  It was there that she developed a love for illustration. A professor told her that there were five specialized graduate programs in North America where she could combine her art skills with her passion for health and the human body. It took three years for her to polish her portfolio and finally get accepted into the Biomedical Visualization program at the University of Illinois at Chicago.

In Chicago, she learned how to visually represent health and scientific concepts through traditional, digital, and technical media. She get to use these skills everyday at the University of British Columbia where she is a Biomedical Visualization Specialist in the Faculty of Medicine.  She loves telling the stories of the human body at a physiological level and this affinity is inspiring me to write a graphic novel about the life of two red blood cells.

Acknowledgement

We would like to thank eng.cite and WWEST for their generous support for this exhibition and associated events.

There you have it.

Santiago Ramón y Cajal and the butterflies of the soul

The Cajal exhibit of drawings was here in Vancouver (Canada) this last fall (2017) and I still carry the memory of that glorious experience (see my Sept. 11, 2017 posting for more about the show and associated events). It seems Cajal’s drawings had a similar response in New York city, from a January 18, 2018 article by Roberta Smith for the New York Times,

It’s not often that you look at an exhibition with the help of the very apparatus that is its subject. But so it is with “The Beautiful Brain: The Drawings of Santiago Ramón y Cajal” at the Grey Art Gallery at New York University, one of the most unusual, ravishing exhibitions of the season.

The show finished its run on March 31, 2018 and is now on its way to the Massachusetts Institute of Technology (MIT) in Boston, Massachusetts for its opening on May 3, 2018. It looks like they have an exciting lineup of events to go along with the exhibit (from MIT’s The Beautiful Brain: The Drawings of Santiago Ramón y Cajal exhibit and event page),

SUMMER PROGRAMS

ONGOING

Spotlight Tours
Explorations led by local and Spanish scientists, artists, and entrepreneurs who will share their unique perspectives on particular aspects of the exhibition. (2:00 pm on select Tuesdays and Saturdays)

Tue, May 8 – Mark Harnett, Fred and Carole Middleton Career Development Professor at MIT and McGovern Institute Investigator Sat, May 26 – Marion Boulicault, MIT Graduate Student and Neuroethics Fellow in the Center for Sensorimotor Neural Engineering Tue, June 5 – Kelsey Allen, Graduate researcher, MIT Center for Brains, Minds, and Machines Sat, Jun 23 – Francisco Martin-Martinez, Research Scientist in MIT’s Laboratory for Atomistic & Molecular Mechanics and President of the Spanish Foundation for Science and Technology Jul 21 – Alex Gomez-Marin, Principal Investigator of the Behavior of Organisms Laboratory in the Instituto de Neurociencias, Spain Tue, Jul 31– Julie Pryor, Director of Communications at the McGovern Institute for Brain Research at MIT Tue, Aug 28 – Satrajit Ghosh, Principal Research Scientist at the McGovern Institute for Brain Research at MIT, Assistant Professor in the Department of Otolaryngology at Harvard Medical School, and faculty member in the Speech and Hearing Biosciences and Technology program in the Harvard Division of Medical Sciences

Idea Hub
Drop in and explore expansion microscopy in our maker-space.

Visualizing Science Workshop
Experiential learning with micro-scale biological images. (pre-registration required)

Gallery Demonstrations
Researchers share the latest on neural anatomy, signal transmission, and modern imaging techniques.

EVENTS

Teen Science Café: Mindful Matters
MIT researchers studying the brain share their mind-blowing findings.

Neuron Paint Night
Create a painting of cerebral cortex neurons and learn about the EyeWire citizen science game.

Cerebral Cinema Series
Hear from researchers and then compare real science to depictions on the big screen.

Brainy Trivia
Test your brain power in a night of science trivia and short, snappy research talks.

Come back to see our exciting lineup for the fall!

If you don’t have a chance to see the show or if you’d like a preview, I encourage you to read Smith’s article as it has embedded several Cajal drawings and rendered them exceptionally well.

For those who like a little contemporary (and related) science with their art, there’s a March 30, 2018 Harvard Medical Schoo (HMS)l news release by Kevin Jang (also on EurekAlert), Note: All links save one have been removed,

Drawing of the cells of the chick cerebellum by Santiago Ramón y Cajal, from “Estructura de los centros nerviosos de las aves,” Madrid, circa 1905

 

Modern neuroscience, for all its complexity, can trace its roots directly to a series of pen-and-paper sketches rendered by Nobel laureate Santiago Ramón y Cajal in the late 19th and early 20th centuries.

His observations and drawings exposed the previously hidden composition of the brain, revealing neuronal cell bodies and delicate projections that connect individual neurons together into intricate networks.

As he explored the nervous systems of various organisms under his microscope, a natural question arose: What makes a human brain different from the brain of any other species?

At least part of the answer, Ramón y Cajal hypothesized, lay in a specific class of neuron—one found in a dazzling variety of shapes and patterns of connectivity, and present in higher proportions in the human brain than in the brains of other species. He dubbed them the “butterflies of the soul.”

Known as interneurons, these cells play critical roles in transmitting information between sensory and motor neurons, and, when defective, have been linked to diseases such as schizophrenia, autism and intellectual disability.

Despite more than a century of study, however, it remains unclear why interneurons are so diverse and what specific functions the different subtypes carry out.

Now, in a study published in the March 22 [2018] issue of Nature, researchers from Harvard Medical School, New York Genome Center, New York University and the Broad Institute of MIT and Harvard have detailed for the first time how interneurons emerge and diversify in the brain.

Using single-cell analysis—a technology that allows scientists to track cellular behavior one cell at a time—the team traced the lineage of interneurons from their earliest precursor states to their mature forms in mice. The researchers identified key genetic programs that determine the fate of developing interneurons, as well as when these programs are switched on or off.

The findings serve as a guide for efforts to shed light on interneuron function and may help inform new treatment strategies for disorders involving their dysfunction, the authors said.

“We knew more than 100 years ago that this huge diversity of morphologically interesting cells existed in the brain, but their specific individual roles in brain function are still largely unclear,” said co-senior author Gordon Fishell, HMS professor of neurobiology and a faculty member at the Stanley Center for Psychiatric Research at the Broad.

“Our study provides a road map for understanding how and when distinct interneuron subtypes develop, giving us unprecedented insight into the biology of these cells,” he said. “We can now investigate interneuron properties as they emerge, unlock how these important cells function and perhaps even intervene when they fail to develop correctly in neuropsychiatric disease.”

A hippocampal interneuron. Image: Biosciences Imaging Gp, Soton, Wellcome Trust via Creative CommonsA hippocampal interneuron. Image: Biosciences Imaging Gp, Soton, Wellcome Trust via Creative Commons

Origins and Fates

In collaboration with co-senior author Rahul Satija, core faculty member of the New York Genome Center, Fishell and colleagues analyzed brain regions in developing mice known to contain precursor cells that give rise to interneurons.

Using Drop-seq, a single-cell sequencing technique created by researchers at HMS and the Broad, the team profiled gene expression in thousands of individual cells at multiple time points.

This approach overcomes a major limitation in past research, which could analyze only the average activity of mixtures of many different cells.

In the current study, the team found that the precursor state of all interneurons had similar gene expression patterns despite originating in three separate brain regions and giving rise to 14 or more interneuron subtypes alone—a number still under debate as researchers learn more about these cells.

“Mature interneuron subtypes exhibit incredible diversity. Their morphology and patterns of connectivity and activity are so different from each other, but our results show that the first steps in their maturation are remarkably similar,” said Satija, who is also an assistant professor of biology at New York University.

“They share a common developmental trajectory at the earliest stages, but the seeds of what will cause them to diverge later—a handful of genes—are present from the beginning,” Satija said.

As they profiled cells at later stages in development, the team observed the initial emergence of four interneuron “cardinal” classes, which give rise to distinct fates. Cells were committed to these fates even in the early embryo. By developing a novel computational strategy to link precursors with adult subtypes, the researchers identified individual genes that were switched on and off when cells began to diversify.

For example, they found that the gene Mef2c—mutations of which are linked to Alzheimer’s disease, schizophrenia and neurodevelopmental disorders in humans—is an early embryonic marker for a specific interneuron subtype known as Pvalb neurons. When they deleted Mef2c in animal models, Pvalb neurons failed to develop.

These early genes likely orchestrate the execution of subsequent genetic subroutines, such as ones that guide interneuron subtypes as they migrate to different locations in the brain and ones that help form unique connection patterns with other neural cell types, the authors said.

The identification of these genes and their temporal activity now provide researchers with specific targets to investigate the precise functions of interneurons, as well as how neurons diversify in general, according to the authors.

“One of the goals of this project was to address an incredibly fascinating developmental biology question, which is how individual progenitor cells decide between different neuronal fates,” Satija said. “In addition to these early markers of interneuron divergence, we found numerous additional genes that increase in expression, many dramatically, at later time points.”

The association of some of these genes with neuropsychiatric diseases promises to provide a better understanding of these disorders and the development of therapeutic strategies to treat them, a particularly important notion given the paucity of new treatments, the authors said.

Over the past 50 years, there have been no fundamentally new classes of neuropsychiatric drugs, only newer versions of old drugs, the researchers pointed out.

“Our repertoire is no better than it was in the 1970s,” Fishell said.

“Neuropsychiatric diseases likely reflect the dysfunction of very specific cell types. Our study puts forward a clear picture of what cells to look at as we work to shed light on the mechanisms that underlie these disorders,” Fishell said. “What we will find remains to be seen, but we have new, strong hypotheses that we can now test.”

As a resource for the research community, the study data and software are open-source and freely accessible online.

A gallery of the drawings of Santiago Ramón y Cajal is currently on display in New York City, and will open at the MIT Museum in Boston in May 2018.

Christian Mayer, Christoph Hafemeister and Rachel Bandler served as co-lead authors on the study.

This work was supported by the National Institutes of Health (R01 NS074972, R01 NS081297, MH071679-12, DP2-HG-009623, F30MH114462, T32GM007308, F31NS103398), the European Molecular Biology Organization, the National Science Foundation and the Simons Foundation.

Here’s link to and a citation for the paper,

Developmental diversification of cortical inhibitory interneurons by Christian Mayer, Christoph Hafemeister, Rachel C. Bandler, Robert Machold, Renata Batista Brito, Xavier Jaglin, Kathryn Allaway, Andrew Butler, Gord Fishell, & Rahul Satija. Nature volume 555, pages 457–462 (22 March 2018) doi:10.1038/nature25999 Published: 05 March 2018

This paper is behind a paywall.