Dinner chez la psychanaliste by Raymond Douillet
Sunday at Hiroshi’s by Meiro Koizumi, 2012 [some cropped for detail]
The name “Sunday at Hirohito’s” is taken from the series of photos taken in December 1945 and published by the American Life Magazine in February 1946 called “Sunday at Hirohito’s - Emperor poses for first informal pictures”. It was the first time the Japanese public saw him in daily settings. American’s purpose was to provide an image of the emperor as an ordinary person instead of a divine figure. In 1946, on January 1st, as part of a New year’s statement, he made the Humanity Declaration (Renounciation of Divinity) under American’s request. Meiro Koizumi painted anatomical images over his figure to push the concept further.
Suzanne Lacy, Under My Skin: A True-Life Story, performance #1 from The Anatomy Lessons, 1973–76. Photo: Rob Blalack. Courtesy of Suzanne Lacy.
Illustration for J.G. Ballard’s The Atrocity Exhibition by Phoebe Gloeckner, RE/Search edition, 1990
“Science is the ultimate pornography, analytic activity whose main aim is to isolate objects or events from their contexts in time and space.”
— J.G. Ballard, The Atrocity Exhibition
From Osteographa, William Cheselden, 1733
SURREALIST SEMI-SCIENTIFIC ILUSTRATION
Tab. 2 & 18 [COLLAGE]
Picture: Moravian Gallery, Brno
Las dos Fridas (The Two Fridas) by Frida Kahlo, 1939
"My blood is the miracle that travels in the veins of the air from my heart to yours."
Worm / Quick & the Dead from 50% The Visible Woman by Penny Slinger, 1971
Faculte de Medecine 1 by Jason Langer, 2002
Zoe Leonard, Anatomical Model of a Woman’s Head Crying, 1993
Via the pandorian
Constancy by Hope Kroll, 2006
Hope Kroll, Indigestion, 2007
L’Ange de l’Anatomie by Leonor Fini, 1949
Collage by Jindřich Štyrský for Vítězslav Nezval’s Sexual Nocturne, 1931