Category Archives: Anatomy

A friend of Street Anatomy’s since our gallery show in 2010, British photographer Richard Sawdonsmith has been working to expand his anatomical tattoos.  This has entailed extending the arteries and veins stemming from his heart tattoo on the front of his body.

A recent addition to Richard’s body is a full length back tattoo based on an autopsy scar inspired by Jeffrey Silverthorne’s photos of the 1970s.  Silverthorne is famous for his photos based on sex and death.  Take a look through Silverthorne’s photos here (NSFW).  His autopsy and morgue photos are particularly chilling, yet serene.

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My apologies for the recent silence; I have been hard at work creating--and now installing!--an  exhibition entitled "Savior of Mothers: The Forgotten Ballet of Ignaz Semmelweis." The show officially opens at the David J. Sencer CDC Museum in association with the Smithsonian Institution at the Centers for Disease Control and Prevention in Atlanta, Georgia next Monday, June 11th.

More on the exhibition, from the CDC Museum website:

Savior of Mothers: The Forgotten Ballet of Dr. Ignaz Semmelweis is an installation of artifacts and ephemera related to an imaginary 19th century ballet created by artist Joanna Ebenstein. The ballet is based on the true story of the brilliant, yet reviled Hungarian doctor Ignaz Semmelweis (1818-1865). Scenes range from his earliest attempts to curb the "childbed fever" epidemic in his Viennese obstetrical clinic to his premature death of the very disease he had spent his life trying to defeat. Ebenstein was drawn to Semmelweis' distinctive story not only for its topical and scientific theme--albeit tinged by melodrama and mythic elements--but also for its mixture of beauty and the grotesque. His tale, best suited to the form of a popular tragedy, makes ballet the ideal medium for Semmelweis' tale. Ebenstein's installation includes costume designs for the "Plague Demons of Cadaverous Particles"--expressionistic representations of the virulent bacteria Streptococcus pyogenes itself--and the "12 mourning mothers from beyond the grave," as well as model theaters, posters, and more.

More on this to come very soon; In the meantime, above are some photos of the installation as it inches along. My favorite piece is the very truly enchanting model theatre (bottom 2 images), designed by the astounding Chris Muller and executed by the exceptionally talented Jason Ardizzone-West; it depicts a set for of a mid-19th century anatomical theatre in which some of the major action of the ballet takes place.

The exhibition opens on next Monday, June 11th, at the  David J. Sencer Museum at the Centers for Disease Control in Atlanta, Georgia. More can be found here.

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The Irish Times - Saturday, June 9, 2012

The cases so far

February 11th, 2010

EU leaders pledge to support Greece, thereby effectively abandoning the euro zones no bailout rule.

Greece

On April 23rd, 2010, the Greek government requests an initial loan of 45 billion from the EU and the International Monetary Fund to cover its financial needs for the remainder of that year. On May 1st, the government announced a series of austerity measures to secure a three-year, 110 billion loan.

In February 2012 a second bailout package worth 130 billion is agreed, conditional on the implementation of another austerity package of 3.3 billion in 2012 and another 10 billion in 2013 and 2014.

Greeks go to the polls on Sunday week after an election in May failed to produce a government. Opinion polls suggest a similar result may emerge.

Ireland

On November 29th, 2010, Ireland became the second euro zone country to seek an EU-IMF bailout. In a complex arrangement, a 67.5 billion bailout was agreed, involving those institutions (the IMFs Ajai Chopra, left, played a key part in the talks) and bilateral deals with three other, non-euro zone EU member states, the UK, Denmark and Sweden. Together with an additional 17.5 billion coming from Irelands reserves and pensions, the government received 85 billion, of which 34 billion was used to support the countrys ailing financial sector.

The rest is here:
Anatomy of a bailout

Aurora Theatre / Aurora Theatre

The original Maud Allen, subject of Aurora Theatre's "Salomania"

"The Cult of the Clitoris." That was the headline on a 1918 piece in the Vigilante, a political journal published by Noel Pemberton Billing, the rabid right-wing British member of Parliament, accusing the San Francisco-bred exotic dancer Maud Allan of being a lesbian, a sadist and a German sympathizer. To prove his point, Billing - who'd riled wartime England with his outrageous claim that the Germans were blackmailing "47,000 highly placed British perverts" - trumpeted the fact that Allan, who'd made her name in Europe in the early 1900s performing her version of Salome's "Dance of the Seven Veils," was appearing in private performances of Oscar Wilde's infamous play "Salom," which the British government had banned from public performance.

Allan sued Billing for libel. The sensational trial that followed - a front-page diversion from the horrific slaughter taking place in the fields and trenches of World War I France and Belgium - inspired "Salomania," a new play by the noted Bay Area writer-director Mark Jackson that premieres at Aurora Theatre on next Friday night, June 15.

"Billing's contention was that only doctors or perverts would know what a clitoris was," says Jackson, who became fascinated by the trial, whose transcripts he acquired from a London antiquarian bookstore, while researching the "Salom" he directed at Aurora in 2006. "The lack of male understanding of the female anatomy provides a great deal of humor for the play," whose themes of media sensationalism, gay bashing and wartime hysteria are "entirely about our present moment."

Jackson's play juxtaposes the war and life on the home front (six actors double as soldiers and civilian characters), exploring the surreal world in which a British officer breakfasts in the deadly trenches and lunches hours later in his tony London club.

Allan, who lost the libel suit and her career - 20 years earlier, she'd changed her name from Durrant after her brother, Theodore, was convicted of murdering two Mission District girls and hanged at San Quentin - "was both a potential hero and a potential threat to society," Jackson says. "She was intentionally pushing boundaries."

Get more information at http://www.auroratheatre.org.

Some splendid musicians will be at the Castro Theatre July 12-15, accompanying the movies in the 17th annual San Francisco Silent Film Festival. One is Donald Sosin, a noted composer and keyboard improviser who's served as the resident pianist at New York's Museum of Modern Art, the Film Society of Lincoln Center and the Museum of the Moving Image and performs at rep houses and festivals around the world.

Sosin, who has played the San Francisco festival for the past six years, will improvise on themes he composed to Von Sternberg's noirish 1928 classic, "The Docks of New York," Herbert Brenon's 1923 "Spanish Dancer" - he describes the music as a mix of Spanish Renaissance and Gypsy music - Chinese director Sun Yu's "Little Toys" (the music will include the synthesized sounds of Chinese instruments) and Felix the Cat cartoons.

Excerpt from:
Anatomy, war and 'Salomania' at the Aurora Theatre

(credit: Thinkstock)

The ubiquitous Broadway poster is more than just eye candy for the busy New Yorker and tourist. These pretty pictures, which cover so much of the city, convey or at least suggest the experience a Broadway production holds for the potential audience member. What will you see, hear and (hopefully) feel once you plop down your hard-earned money for a seat in one of Broadways storied theatres? Its a shows calling card. It helps put people in seats.

Upon first glance, a Broadway poster may seem deceptively simple a picture or graphic with a title and some credits. But a lot of very creative people put a lot of thought and effort into creating whats known in the industry as key art. Its this key art gets that gets spun off into the countless versions you see online, in the subways, outside theatres and above Times Square. The final product, in all its forms, depends on the show and the audience its producers wish to attract.

(credit: SpotCo)

For Once, the Off-Broadway transplant about an Irish musician and a Czech immigrant brought together by music, the challenge was to reinvent a personal story for a broader audience. As Darren Cox, Associate Creative Director at SpotCo, an advertising agency that handles many of the most successful Broadway shows, explained, Once was this little fantastic gem of a show downtown that just flowered into this huge success. The original art, which SpotCo also developed, had a very personal, slice-of-life kind of aesthetic, which was very intimate and really really good for downtown, but we found out that other needs arose when the show moved to Broadway. The bigger stage and the bigger potential audience required an updated look and feel to get noticed.

The art needed to pack more of a punch. According to Cox, there was a little bit of a fear that the intimacy of the show and the kind of quiet beauty of the show could be sort of swallowed up The solution was to hold on to certain artifacts from the original as inspiration and then dial everything up. They hired a photographer and shot the actors in real environments in the theatre, on the street, at a bar. And then we pulled back in some of the graphics and the logo treatment that had that downtown intimate feel, but then married it to the larger brand. Looking at the original and updated art you can really see there is sort of this relationship where they do feel theyre kinda like in the same voice but one has a much stronger, louder, much more splashy kind of voice.

See more Broadway posters.

(credit: SpotCo)

One Man, Two Guvnors, a comedy about an easily confused man who agrees to work for both a local gangster and a criminal in hiding, required a different approach. The play, starring the talented comedic actor James Corden, came to Broadway from Londons West End. As Cox explained, It was something that already has a lot of traction and success, and we wanted to communicate that. But we wanted to communicate that in a way that was fun, interesting and sort of off-kilter like the show. The show had received rave reviews from British audiences and press, a sort of stamp of approval. But it still needed to be introduced to American theatergoers.

We knew we had a star in James Corden, noted Cox. And the art very much reflects that by hitting pretty hard the cred that its gotten from England. In addition to the shows star in a pose that suggests the plays physical humor, the poster features glowing comments and five-star ratings from various London papers. The National Theatre in London has a great track record of doing really wonderful shows, according to Cox. So we thought that that would make it more comfortable for consumers. The goal, in this case, is to make the unfamiliar seem familiar by lending it some credibility. We really tried to build that into the artwork so that people knew this was an established brand.

View post:
Anatomy Of A Broadway Poster – The Story Behind The Art

The site of William "Bubba" Cotton's fatal accident.

Understanding the contracting chain on cell tower jobs can be complicated, but crucial when workers die.

William Bubba Cotton, 43, was the first of 11 cell site workers who died on AT&T projects from 2006 through 2008, years when the carrier merged its network with Cingular and ramped up its 3G network for the iPhone.

As ProPublica and PBS Frontline reported last month, tower climbing ranks among the most dangerous jobs in America, having a death rate roughly 10 times that of construction.

The project Cotton was on involved several layers of subcontractors, which is common in the tower industry. The accident was more unusual. Most of the 50 tower climbers killed on cell site jobs since 2003 have died in falls, but Cotton was crushed to death by an antenna.

A wrongful death lawsuit subsequently filed by Cottons survivors, as well as a personal injury suit filed by his cousin and co-worker, Charles Randy Wheeler, explored two questions at the heart of every tower fatality: Who controlled the tower site? And who was responsible for the safety of the subcontractors working on it?

Heres a breakdown of what happened in the Cotton case:

The Project: An upgrade of a cell site in Talladega, Ala., replacing the antennas on a 400-foot tower. AT&T had designated the upgrade a top priority because of an upcoming NASCAR race, a company manager said in court testimony.

The Subcontractors: To handle the tower work, AT&T (then known as Cingular) hired Nsoro, a large management firm (also known as a turf vendor.) Nsoro hired a subcontractor, WesTower Communications, a large North American tower company. WesTower subcontracted the on-site work to a Missouri-based tower company, ALT Inc.

AT&T also directly hired Florida-based subcontractor Betacom Inc. to work on a concrete equipment shelter at the base of the tower.

See the article here:
Anatomy of a Cell Tower Death