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Medical Illustration has its place in the history of the graphic arts. Some would like to make it an art form in itself. Certainly Andreas Vesalius did create an artwork in its own right with ‘the Fabrica’. However, that large, garish cast of a section of  a walking pregnant woman, generated by Brit-Art spiv Damien Hirst has nothing like the presence of an edition of ‘the Fabrica’ – I should know, in the past I’ve sat and perused a first edition of the said book  and on another occasion I’ve stood in the same room with Mr. Hirst and one of his artworks (and David Bowie). Come and hear my version of events in the development of Western anatomical consciousness at the National Gallery, lunchtime on the 20th of September 2010.

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Woodcut portrait of Andreas Vesalius

Why do we need to know what is inside us in order to paint better pictures of the figure? As part of the general thrust of empiricism, many unfortunate bodies were put under the knife to satisfy the demands of science and art. We look at this in greater depth in the talk I will be presenting at the National Gallery on September the 20th this year – lunchtime in the Sainsbury Wing lecture theatre.

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Image by Joel Peter Witkin

If you want to hear about how artists (and scientists) have worked with human remains to develop and authenticate their work – then come to the National Gallery on Monday, September the 20th. I will be talking on the topic in the lecture theatre of the Sainsbury Wing at lunchtime. The talk is free of charge and open to the public.

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Figure by Andre Pierre Pinson

I will be presenting a lecture titled: ‘Art or Science?: how artists have used the deceased in their quest for truth’ at lunchtime on Monday the 20th of September, 2010 at the National Gallery (London), in the lecture theatre in the Sainsbury Wing. (see National Gallery website)

The subject is potentially vast and so will be limited to looking at how artists have worked with human remains to create stronger, better, more authentic images. The nature of the subject invariably requires some discussion of how the paths of art and science have crossed and intermingled. We look at some of the works in the National Gallery collection and question the moralities of the day which gave rise to an increasing objectification and materialising of humanity. The talk is concluded by raising further questions about how art may be constituted and our seemingly national obsession with the serious issue of DEATH.

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An anatomy after Hogarth

Dear Jeanette Barnes put on a show of her drawings at TOTO lower gallery in EC1 just recently and I was glad to have another meeting with her (and others) and see her work once more. A rare thing that someone should stick with conventional, figurative methods in this fast changing post-modern world of ours. Jeanette produces large charcoal drawings of ‘London Sites’ as her show was titled, she does these based on sketches she makes from observation. My good friend Mr. I Sherry liked the sense of movement in Jeanette’s work and mentioned both Piranese and Muirhead-Bone whilst we looked at the work. I hope to see more of Jeanette’s work in the near future.

Jeanette Barnes at TOTO in June this year

Tonight: the 8th of June 2010, at St. Mary’s Cof E Church Hall, I will be giving a presentation & talk about ‘My life and my work’. So don’t miss it! Tickets cost £5,000. You won’t be disappointed.

I wasn’t disappointed. The talk went well, according to plan and people seemed to enjoy it. I think the colourful turns about my student life whilst at St. Martin’s in Central London – especially when I worked at the Doll’s House Striptease Revue in Soho, added an extra dimension to the content. So I suppose I must look to what happens next (which is what is happening NOW).

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Alan Dedman: photo by Dermot Goulding

British bikers ‘ die hard’ and that’s a fact. Take a look at this: ‘In reasonable condition for year …’ by Nicholas Ward. It doesn’t bear much resemblance to him (honest) but I do recall being taught how to draw and various other things by someone who looks a bit like this.

In reasonable condition for year ... by N.Ward