Who Practices “Visualizing Anatomy”?

Today’s guest post is written by Kriota Willberg, New York Academy of Medicine’s Artist-in-Residence.  Through graphic narratives, teaching, and needlework, Kriota explores the intersection between body sciences and creative practice. This May, Kriota taught a four-week workshop entitled “Visualizing and Drawing Anatomy,” which utilized live models as well as anatomical illustrations from the New York Academy of Medicine’s library. You can read more about Kriota’s work HERE.

Class

The class gets oriented before drawing practice.

The Visualizing and Drawing Anatomy workshop was held at the Academy Tuesday evenings in June.  Once again I was impressed by the participants willingness to practice looking underneath our models’ skin to draw the deep anatomical structures that give our bodies form.

iPad

Participants draw using their preferred medium, in this case, paper or an iPad.

Who benefits from this kind of drawing practice? Practically everyone. Trained artists sharpen their skills, and those new to art and drawing learn fundamental principles of anatomy that lay the foundation for drawing the human figure.

Debbie Rabina, who is new to art, took the workshop last year.  Since then she has kept a regular drawing practice and she occasionally incorporates anatomy into her work.

Rabina

Debbie Rabina’s drawing since taking “Visualizing Anatomy” in 2016.

Ellen Zaraoff is a photographer who has just started drawing. Until taking the classes this year she had been focusing on drawing portraits in charcoal.  She took the workshop to get an introduction to anatomy, structure, and proportion.

Sarah Wukoson has a BA in art, and works in medical research. She took the workshop this year because she’s interested in the intersection of art and medicine as well as “the interplay of different modes of understanding the body.”

Wukoson

Sarah Wukoson’s 2017 in-class sketches and exercises.

Jim Doolley is a “life-long art lover who decided a couple years ago to take a stab at producing, not just consuming.” His focus is drawing and painting. He took this class to improve his draftsmanship.

Dooley

Jim Dooley’s 2017 homework.

Susan Shaw is an artist.  She says, “I took the class (last year) because I found I was thinking 2 dimensionally when I was drawing and the figures seemed to have no life… I now think about how the body functions when I draw and it makes gesture and weighting much easier.”

Shaw

Susan Shaw’s figure drawing since taking “Visualizing Anatomy” in 2016.

The variety of participants: artists, illustrators, cartoonists and enthusiastic beginners – all interested in anatomy and the Library’s historical collection make this workshop one of my favorites to teach.

This September 14-October 5, Kriota is offering an “Embroidering Medicine Workshop,” which will take place at the Academy.  This four-week workshop explores The New York Academy of Medicine Library’s historical collections, examining relationships between medicine, needlework, and gender. Learn more and register HERE.

 

A Ceroplast at NYAM

In today’s guest post, the artist Sigrid Sarda tells us how historical collections inform her work. Visitors to our Festival of Medical History & the Arts may have seen her moulages in person, and be sure to visit her blog for information on exhibitions and more of her fabulous work.

Earlier this year, I began researching the collections at the Center for the History of Medicine and Public Health. I am an artist/ceroplast, which means wax modeler. The resources I discovered at the Center have been of great inspiration to my work.

Sigrid Sarda, "MRSA," 2013. Wax, Human Hair, Life-size.

Sigrid Sarda, “MRSA,” 2013. Wax, Human Hair, Life-size.

First, let me tell you about myself. For over 30 years I was a painter. Due to the death of my father and the psychological aftermath I experienced, I ceased painting. In its place, the obsession of the wax figure came into being. Since I was completely self-taught and only worked in this medium for a few years, it was necessary to learn more about its technique and history. Having always had a fascination with religious icons, the body (particularly skin), diseases, and later on death, as well as incorporating human remains such as teeth, bone, and hair in my work, I realized I needed a better understanding of the aesthetics and techniques of wax used in creating these life-size figures and medical moulages.

While exhibiting a waxwork in New York City, I met up with Lisa O’Sullivan, director of the Center for the History of Medicine and Public Health at NYAM, and Arlene Shaner, reference librarian and acting curator for historical collections. After discussing the exhibited piece and my ambitions working in wax Dr. O’Sullivan invited me to explore NYAM’s collections. This was an opportunity not to be missed!

Upon arriving at NYAM, I was directed to the 3rd floor of the massive Romanesque building where Arlene welcomed me. Delightful, funny, and knowledgeable, she made me immediately comfortable in the surroundings of the library and excited to view the books housed in the collection. She checked out my waxwork, we geeked out on ceroplasts, and spoke about other artists whose work dealt with death such as Joyce Cutler-Shaw.

On my second visit, filled with anticipation, I found myself greeted by marvelous books and an actual anatomical wax moulage of a diseased infant. After the initial perusal of my work, Arlene knew what was needed for my research: anatomical images and techniques, and had the books waiting for me in the formidable reading room. As a bonus she brought out the works of M. Gautier D’Agoty, the 18th-century French artist and anatomical illustrator. I pored over both heavily illustrated and non-illustrated books for hours, amassing information for future waxworks. There is truly nothing like the feel of a beautiful book in your hands. The library has become quite the addiction, what with the wonderful staff and superb collection!

Below are images from D’Agoty and various books consulted at NYAM, and above is one of my wax moulages.