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Category: hamburgerhelper

Put the Art Exhibit to Death

Today on Pop Culture Intelligentsia Brent Morris talks about BioArt, Eduardo Kac’s victimless leather, Charles Vacanti’s ear mouse and the Hamburger Helper Mixtape.

Show Notes & Links

  • BioArt
    BioArt is an art practice where humans work with live tissues, bacteria, living organisms, and life processes. Using scientific processes such as biotechnology (including technologies such as genetic engineering, tissue culture, and cloning) the artworks are produced in laboratories, galleries, or artists’ studios. The scope of BioArt is considered by some artists to be strictly limited to “living forms”, while other artists would include art that uses the imagery of contemporary medicine and biological research, or require that it address a controversy or blind spot posed by the very character of the life sciences.
  • Victimless Leather
    Victimless Leather is a sub-project of the Tissue Culture & Art Project where the artists are growing a leather jacket without killing any animals. Growing the victimless leather problematizes the concept of garment by making it semi-living. This artistic grown garment is intended to confront people with the moral implications of wearing parts of dead animals for protective and aesthetic reasons and confronts notions of relationships with manipulated living systems.
  • Eduardo Kac
    Eduardo Kac is a contemporary American artist and professor of Art and Technology Studies at the School of the Art Institute of Chicago. Kac was born in 1962, in Rio de Janeiro, Brazil. Kac has worked in numerous and diverse artistic media since he began practicing in the early 1980s in Rio. “His work encompasses many genres, and he is often a pioneer and a protagonist in many fields: holography applied to the arts, the creation of works to be transmitted by fax, photocopied art, experimental photography, video, fractals, digital art, microchips approached as human prostheses, virtual reality, networks, robotics, satellites, telerobotics, teletransportation, genomes, biotechnology, Morse code, DNA. Kac has coined many names for his work, such as: bioart, biopoetics, biorobotics, biotelematics, holopoem, holopoetry, telempathy, plantimal, telepresence, teleborg, transgenic art, weblography, and webot.”
  • Vacanti mouse
    The Vacanti mouse was a laboratory mouse that had what looked like a human ear grown on its back. The “ear” was actually an ear-shaped cartilage structure grown by seeding cow cartilage cells into a biodegradable ear-shaped mold and then implanted under the skin of the mouse, then the cartilage naturally grew by itself.
  • Charles Vacanti
    Charles Alfred Vacanti (born 1949/50) is a researcher in tissue engineering[1] and Professor of Anesthesiology at Harvard Medical School. He is a former head of the Department of Anesthesiology at the University of Massachusetts and Brigham and Women’s Hospital. He is known for the Vacanti mouse, a mouse created with Linda Griffith and Joseph Upton with cartilage shaped like a human ear on its back, and for being the senior author on the first of two retracted articles on STAP cells, a concept proposed by his brother and himself, and co-authored with Haruko Obokata. Vacanti stood down as department chair of Brigham and Women’s Hospital and took a one-year sabbatical from September 1, 2014.
  • Diemut Strebe
    Boston-based conceptual artist.
  • Vincent van Gogh’s ear made using living cells and a 3D printer
    After growing enough cells from the material obtained from the great-great-grandson of Vincent’s brother Theo, they were shaped to replicate van Gogh’s detached organ using a 3D printer and the resulting “ear” is being kept alive using a nutrient solution. Lieuwe shares around a sixteenth of the same genes as the Impressionist master, which includes the Y-chromosome passed down through the male lineage.
  • Hamburger Helper Mixtape
    Lefty, the Hamburger Helper mascot, may have to leave the mascot business and pursue a rap career after the release his new mixtape “Watch the Stove.”


Brent Morris

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