Study for Lady Macbeth by Gustave Moreau, ca. 1851
The Rio Caño Cristales
1962: Slaughterhouse chandelier
Cattle walking the last mile to this slaughterhouse are treated to this dazzling, but incongruous display of light before the end in Gross-Umstadt near Darmstadt, West Germany, on November 29, 1962. The chandelier came from a nearby factory that did not have room to assemble it there, so they decided to assemble it in this slaughterhouse.
These color lithographs illustrating amputation are from Jean Marc Bourgery’s monumental Traité complet de l’anatomie de l’homme. This work was originally published in eight volumes over the course of twenty-three years (1831-1854); Bourgery himself died before it was completed.
The illustrations were done by Nicholas-Henri Jacob, a student of the renowned French Revolution era painter Jacques Louis David.
|—||Marshall McLuhan (via man-of-prose)|
“This piece was primarily a trust exercise, in which she told viewers she would not move for six hours no matter what they did to her. She placed 72 objects one could use in pleasing or destructive ways, ranging from flowers and a feather boa to a knife and a loaded pistol, on a table near her and invited the viewers to use them on her however they wanted. Initially, Abramović said, viewers were peaceful and timid, but it escalated to violence quickly. “The experience I learned was that … if you leave decision to the public, you can be killed… I felt really violated: they cut my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the public. Everyone ran away, escaping an actual confrontation.” This piece revealed something terrible about humanity, similar to what Philip Zimbardo’s Stanford Prison Experiment or Stanley Milgram’s Obedience Experiment, both of which also proved how readily people will harm one another under unusual circumstances.” This performance showed just how easy it is to dehumanize a person who doesn’t fight back, and is particularly powerful because it defies what we think we know about ourselves. I’m certain that no one reading this believes the people around him/her are capable of doing such things to another human being, but this performance proves otherwise.”