Piccinini patricia biography of michael jordan

Kon Gouriotis, Artist Profile, Nextmedia, , pp. Otto Letze, GYS! Thomas Macho, Das Schwein, Agora 42, , pp. Julie R. Terukazu Suenaga, Ms. Yoko Hayashi, Mr. Art, Taipei, Taipei, , p. Scala, Mark W. Hickson, Patricia, Hug or Run? Israel, Glenis, Essential Art, Jacaranda, , p. Smith, Royce W. Crespo, Txema G. Tauris and Co. Ltd, , p.

Piccinini patricia biography of michael jordan

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Access complete market analysis. In The Art Newspaper named Piccinini with her "grotesque-cum-cute, hyper-real genetics fantasies in silicone" the most popular contemporary artist in the world after a show in Rio de Janeiro attracted over , visitors. She moved to Canberra , Australia when she was 7 years old. After high school, Piccinini began studying economics at Australian National University.

Before finding the medium of sculpture, Piccinini experimented with world-building through photography and digital enhancements. The two series explored the commercial side of science and brought up the question of ethics. The Protein Lattice series was inspired by the famous Vacanti mouse experiment in The experiment formed a human ear on a rat.

Piccinini has an ambivalent attitude towards technology and she uses her artistic practice as a forum for discussion about how technology impacts upon life. She is keenly interested in how contemporary ideas of nature, the natural and the artificial are changing our society. Specific works have addressed concerns about biotechnology, such as gene therapy and ongoing research to map the human genome In , Piccinini presented 'Still Life with Stem Cells', [ 1 ] which features a series of flesh-like masses.

As she herself says:. Pure unexpressed potential, they contain the possibility for transformation into anything. They are the basic data format of the organic world. Like digital data, their specificity lies in that, while they are intrinsically nothing, they can become anything. They are biomatter for the digital age. I am interested in how this changes our idea of the body.

Already our understanding of the human genome leads us to imagine that we understand the construction of the body at its most intimate level; the stem cell provides us with a generic, plastic material from which we can construct it. In the last ten years, the body has gone from something that is uniquely produced to something that can be reproduced.

This transformation has already occurred, with very little fuss given its magnitude. The question of whether this is a good or a bad thing is both too simplistic and a little academic. As with so much of this biotechnology, the extraordinary has already become the ordinary. The real question is 'what are we going to do with it'.

Still life with Stem Cells is one possible answer. In , Piccinini represented Australia at the 50th Venice Biennale. The work exhibited was 'We Are Family', [ 13 ] an exhibition which displayed humanlike mutant figures behaving like humans. The ABC described the work as a "hot air balloon in the shape of a tortoise-like animal featuring huge dangling udders made from four hectares of nylon".

In a interview with the Sydney Morning Herald , Piccinini said of her work, "It's about evolution, nature — how nature is such a wonderful thing, we're just here to witness it, it's not here for us — genetic engineering, changing the body.