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Shipwreck by cat bohannon analysis composition

In her dissertation “Shipwreck, ” Cat Bohannon argues that displaying bodies of lifeless humans could be “art”, although this “art” may be challenging to separate via “science. ” The text is stuffed with the author’s research, interviews and her personal thinking. While seeing the process of human dissection and preservation (known as “plastination”), Bohannon provides a difficult time understanding this type of art making. Intended for the author, plastination is a complicated and sometimes distressing process. Although she also seems to conclude that plastination is far more than just “creative anatomy” (Bohannon 62), which is actually a sort of expression just like painting or sculpture.

Plastination is a technique that challenges the boundary between science and art. Bohannon demands, “Can an inactive human body become a piece of art ‘about’ the human body? ” (59).

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The writer at first appears doubtful that the is artwork, but then answers her very own question with observations a great artist might create. In the plastination factory, the lady states that reminds her of explanations she’d examine of “Warhol’s ‘factory, ‘” but is troubled that Dr .

von Hagens’ “‘materials’ were once living, breathing people” (Bohannon 61). She feedback that the “muscle has strings of viscous pink linking it to the table, ” but she “can’t help but think of the feet of ballet dancers, incredibly good, but hopelessly mangled” (Bohannon 63). While observing a vat of liquid, the writer realizes that there is a cadaver in the liquefied, but the the liquid is “candy pink, like cheap bubblegum, Pepto-Bismol, Pokemon pink” (Bohannon 63). Likewise, when browsing a buck on display, the lady convinces their self that “This isn’t the work of sticklers or basic anatomists.

This kind of room is actually a workshop intended for artists” (Bohannon 65). When holding of the smoker, Bohannon finally hears “the meaning spoken in an unfamiliar language – a language created from breath and blood and finality” (69). Bohannon’s article reminds me of Annie Dillard’s essay “Seeing”. In that dissertation, Dillard discussed how there may be much in the world that we usually do not “see” because we no longer pay attention to small details. Just like with Dillard’s “artificial obvious” (695), Bohannon has to your plastination method to see the creative skill the body show designers use to bring out the hidden details in dead man remains. For Dillard and Bohannon, seeing items differently spiffs up our each day experience. Certainly with the publisher that “art” can be found in themes that other folks might believe are just “science” or “technology”.

Even though the dead bodies would be the “ships from the soul” following “the traveling has left” (Bohannon 68), I think they will still be a creative art form. How are these types of any unlike a painting of a beautiful woman whom died hundreds of years ago or a sculpture of Moses in Rome? Anytime i want the fine art museums I possess visited, I do think, like the publisher, that there is “art” and “science” on display. The designer adds his expression towards the corpse, in the same way a sculptor adds his touch to the statue in the museum. In the end, marble is equally as dead since von Hagens’ plastinated bodies.

Warhol’s factory. The Factory was Andy Warhol’s original New York City studio via 1962 to 1968. Having been an American modern artist whom gave towards the world a lot of beautiful artwork.

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