Another piece of memento Mori jewellery, but unfinished- with cast the bat heads in metal and add a dark patina later on!

Bracelet made with a found rat skeleton and cast with rivets and spikes!

A portrait of an anatomy lesson in the Royal College of Surgeons was recently unveiled in the department of Anatomy by Mr Mick O’Dea, Principal of the Royal Hibernian Academy School.

The Anatomy Lesson of the Irish College of Surgeons by Robert Jackson is an oil on canvas painting measuring 2 metres by 4 metres. It took over 18 months to complete depicting 48 current RCSI staff and students participating in an anatomy lesson.

Below is the information on the exhibition taken from http://www.moma.org, i cant believe i hadnt heard this was on! will definately be getting tickets to see this before it is over! some of the photos have been taken from http://www.morbidanatomy.com brilliant website!

Quay Brothers: On Deciphering the Pharmacist’s Prescription for Lip-Reading Puppets
August 12, 2012–January 7, 2013
Theater 2 Gallery
Theater 1 Gallery
First floor
Second floor
The exhibition is accompanied by the film series Lip-Reading Puppets: The Curators’ Prescription for Deciphering the Quay Brothers
View related events
This MoMA gallery exhibition and accompanying film retrospective will be the first presentation of the Quay Brothers’ work in all their fields of creative activity. Internationally renowned moving image artists and designers, the Quay Brothers were born outside Philadelphia and have worked from their London studio, Atelier Koninck, since the late 1970s. For over 30 years, they have been in the avant-garde of stop-motion puppet animation and live-action movie-making in the Eastern European tradition of filmmakers like Walerian Borowczyk and Jan Svankmajer and the Russian Yuri Norstein, and have championed a design aesthetic influenced by the graphic surrealism of Polish poster artists of the 1950s and 1960s. Beginning with their student films in 1971, the Quay Brothers have produced over 45 moving image works, including two features, music videos, dance films, documentaries, and signature personal works, including The Street of Crocodiles (1986), the Stille Nacht series (1988–2008), Institute Benjamenta (1995), and In Absentia (2000). They have also designed sets and projections for opera, drama, and concert performances such as Tchaikovsky’s Mazeppa (1991), Ionesco’s The Chairs (Tony-nominated design, 1997), Richard Ayre’s The Cricket Recovers (2005), and recent site-specific pieces based on the work of Bartók and Kafka.
In addition to their better known films, this exhibition will include never-before-seen moving image works and graphic design, drawings, and calligraphy, presenting animated and live-action films alongside installations, objects, and works on paper.
Organized by Ron Magliozzi, Associate Curator, Department of Film.
Major support for the exhibition is provided by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.

“My anatomical works combine classic poses, in dramatic chiaroscuro lighting, with a very contemporary twist… illustrating what’s underneath the skin, and the portrayed figure dissects a region of their body to show the structures that lay beneath,” says Quirk. “My work is perceivably on the darker side, but the [actuality] is, it’s about exploration.”

The surreal watercolor paintings are part of the aspiring medical illustrator’s growing portfolio of work as he heads into graduate school to pursue his dream job. The life-like renditions start as mere photographs, transform with some expert photo manipulation, and evolve into paintings all at the masterful hand of Quirk. Each painting alone takes anywhere from 20 to 30 hours to complete.

‘Markus Akesson‘s paintings deals with this; the interspaces between ideal and reality. A time related, spatial and psychological intermediate position where expectations and experience do not always join up. The paintings can be characterized by a compact stillness.And also something else. As a creation where one clearly understands that something has happened, and that something soon will happen. But we cannot see what it is. We are in the interval, the space in between. His works are also characterized by an almost fetishist attitude towards patterns, texture and surface, whether it’s a shoe, an oriental rug or the feathers of a vulture. A strong force that is catching and brings the spectator into the scenes.’ Words by: Milou Allerholm is a freelance art critic and Senior lecturer in Art History at the Royal University College of Fine Arts in Stockholm.

- “Nenezic’s work could never be described as shy and retiring. It’s brutal and confrontational, tackling anorexia, illness, death, regrettable sex and even acne with unflinching clarity; warts and all, with actual warts. Nenezic has created bold work across the board, using collage [link ], video [link ] and a collaborative performance piece with artist Katarina Petrovic, God Gives you Pleasure [link ], where they created a suit with four built in vibrators and a dildo, each touch activated by making the ‘spectacles, testicles, wallet and watch’ sign of the cross.
So it’s fair to say his work is challenging. However in an artistic climate where displaying crucifixes in vats of piss (Andres Serrano) and art projects allegedly involving repeated induced miscarriages (Aliza Shvarts) raise more yawns than eyebrows; rubbing religion up against sex is par for the course. What sets Nenezic aside from the ‘I’m an art student and I’m sewing a chicken fillet to my breast in protest of tampons’ crowd; is the fact that he has a breathtaking talent, a deft hand and a keen eye for imagery. Nenezic’s paintings use eye-watering detail and competent classical form to bring beauty to the most gruesome of subjects, reflecting an imploding society back to itself.
Nenezic’s themes, such as one night stands (the stunning ‘The Moment After’ series) and extreme body modification (the ‘I’m so Beautiful’ series), ensures his work captivates a modern audience, whilst his use of colour and light is reminiscent of Ingres’ bather, with the angular distorted bodies channelling Egon Schiele’s self portrait and the various secretions of Francis Bacon’s fleshier works.
It may not be pretty or tasteful, but Nenezic’s work entices discussion and incites a visceral reaction, whether it’s a postwar commentary on the psychological state of an unstable New Europe, or a glimpse into the rotten core of humanity; it’s more than can be said for a slew of artists who use shock without value.”

Words by Kate Weir
From “EyeSeeSound” Magazine http://www.eyeseesound.tv/edition/003.html

Since I am organising the Cork city zombie walk at the moment I said that I would add a bit more zombie to my anatomical posts! “Zombie Burlesque” is what happens when self-taught French artist, Angel Roy, decided to combine vintage pinup girl photography with the inexplicable Zombie craze sweeping the nation right now.In a collaboration with Glamorama Studio Photography’s own Mila the two produced a digital art series that is part anatomy, part glamor and definitely part macabre.In a side-by-side display of the original photo alongside the completed digital works of art, the viewer has a broader appreciation of the ‘before and after’ effect.

Using photography as a starting point, Roy uses graphic design as a way of giving more form to the pieces while reinterpreting what he calls ‘the classic codes of the portrait and landscape.’ Roy says, “In my collages graphics, anatomy disrupts the smooth image of the photographed body. I consider the human being, not as individuals but as a machine in motion, and I like to put forward his vital organs, its mechanisms, its branches, its brands, its traces. On this same method of composition (binder photo to graphics) I work the landscape, including that offered by larger cities. I change the architecture, space as I change the human being. The graphics in this case allows me to place the image in a particular context (historical, social, or cultural) or to give a totally imaginary.”