The Washington University School of Medicine showcases art exhibits on a rotating quarterly schedule. On display in the 2nd floor Hearth of the Farrell Learning and Teaching Center; artwork in these rotating shows are medical or scientific by nature, St. Louis themed or produced by a member of the Washington University community.
Marty Ryan: June 2019
Marty Ryan is a visual artist from St. Louis, Missouri. His newest series entitled “Mistakes and Misplaced Faces”, focuses on finding the balance between the positive and negative aspects of our day to day life. Who will you choose to be today? What face will you decide to wear? Are your thoughts your own or are they echoes of what others think of you? These are a few anxiety fueled questions that dig at each and every one of us.
Marty uses the human anatomy in formal wear to represent the idea social standard of adulthood and professionalism. In place of faces, he has incorporated emotion and texture through common household items.
Marty started taking painting seriously at the age of seventeen and now at thirty-one the overall goal has remained constant; to create art that gives a voice to the hopeless.
Jeannette Wong: June 2019
Jeannette was born and raised in Topeka, Kansas. She moved to St. Louis to attend college at Washington University and first discovered glass when she signed up for an elective during her senior year. She continued to dabble in glassblowing after graduating but it was not until she moved to DC to pursue an NIH fellowship that she more wholeheartedly fell in love with the medium. She is grateful to Kevin Lurie for artistic and life mentorship during that time. She returned to St. Louis for medical school and has been blowing glass nearly every week at Third Degree Glass Factory ever since. Glass has served as her creative escape from the rigorous demands of medicine and as a way to meet new people and to challenge herself. She continues to blow glass despite being in her intern year of pediatrics residency here at St. Louis Children’s Hospital.
Glassblowing is an art that walks a fine line between order and chaos. This precarious duality is where true creativity comes from. Precise order is needed – there are hundreds of steps to making the perfectly glass blown bowl. The care of the artist is necessary to sustain the glass at a malleable temperature, maintain symmetry on the blowpipe, and to gradually build color, texture, and shape. And yet, a machine can make glass products from a mold with precise shape. But the chaos, sometimes carefully controlled, other times barely managed, is what makes hand blown glass unique, beautiful, and continuously challenging.
Mark Hurd, December 2018
Mark Hurd: December 2018
Capturing the essence of a special place, a wonderful memory at a magical moment in time is what defines my art.
I am drawn to bright, saturated colors and contrast, whether they be brilliant neon reds and yellows against the dark wall of an inner city building, or the infinite, vivid shades of green in a radiant tree bathed in late day sun. My subject matter consists mainly of landmarks of St. Louis, as well as Chicago and other cities in the United States and Europe. A major creative influence is Bill Kohn, my painting professor from Washington University, where I received my BFA in 1986.
As my company, Dancing Moon Fine Art has evolved, I have partnered with corporate design groups in “purpose based design”, installing my art in retirement communities and hospital environments involved in the treatment of individuals with dementia and cognitive decline, triggering memory recall of a special place or time.
My process is a unique creative technique that utilizes my photography as a guide, free drawing and adding color to individual shapes, and layering those shapes digitally to create an impressionistic graphic work of art.
The Edinburgh Stereoscopic Studies, December 2018
Selections from The Edinburgh Stereoscopic Studies of Anatomy
First published in 1905, the atlas includes stereographs of the head and brain, the heart and pericardium, the mediastina and lungs, and the temporal bone and inner ear. The complete atlas contains 250 stereoscopic views of the various parts of the human body.
Stereographs, also known as stereograms, stereopticans, or stereo views, simulate a three dimensional image. Two images, representing left-eye and right-eye views of the same object, are presented so that each eye sees only the appropriate image. An illusion of depth is created by this binocular view. Early stereographs used drawing and illustrations. Stereography utilizing photography dates from the early 1850s. The physician, author, and poet Oliver Wendell Holmes invented an affordable stereoscope, known as the “American stereoscope” or the “Holmes stereoscope,” around 1860. He wrote in the June 1859 edition of Atlantic Monthly:
“[T]he first effect of looking at a good photograph through the stereoscope is a surprise such as no painting ever produced. The mind feels its way into the very depths of the picture. The scraggy branches of a tree in the foreground run out at us as if they would scratch our eyes out. The elbow of a figure stands forth as to make us uncomfortable.”
Each set of stereoscopic photographs is mounted to card stock and designed for viewing through a stereoscopic viewer like the Holmes stereoscope also on display here. The photographs depict specimens carefully dissected and labeled to show the various points of anatomy. Corresponding descriptions are printed above the images.
Created for students of anatomy as a teaching aid, the atlas was a popular resource for medical schools. The Bernard Becker Medical Library holds multiple editions of the atlas, including an edition published circa 1914 on the pathological anatomy of the eye, as well as a revised edition of the original atlas.
Jenna McNair, March 2019
Jenna McNair: March 2019
LensScapes is a series that evolved from viewing microscopic slides of regularly occurring virus and bacteria with a new perspective. Many strong and inspiring women have graced us with their willpower and selflessness in their fight against such viruses, a testament to what is beautiful both inside and outside of their bodies. Technological advancements are approaching, garnering hope for a better future. As the scope of science and the role that it plays in our environment is widening, our general perceptions are focusing inward.
The social media landscape has become increasingly more difficult to navigate. Where scientific journals and peer reviewed articles were once an unchallenged source of truth, the perils of interaction online are increasingly overgrowing, uprooting its foundation, creating unimaginable risk factors unseen in the noise of likes and shares. The hazardous environment that we fill with digital shouting is creating a deeper divide in discussions of vaccinations, bullying, and climate change. Stepping back from the narrow lens we’ve accustomed our eyes to, we can identify the source of toxicity and begin to heal and repair the damage left in its wake.
Jenna McNair received her Bachelor of Fine Arts from Southern Illinois University of Carbondale with a specialization in Painting, and minors in Art History and Museum Studies.