Joe Davis is an artist who works not only with paints or pastels, but also with genes and bacteria. In 1986, he collaborated with geneticist Dan Boyd to encode a symbol for life and femininity into an E. coli bacterium. The piece, called Microvenus, was the first artwork to use the tools and techniques of molecular biology. Since then, bioart has become one of several contemporary art forms (including reclamation art and nanoart) that apply scientific methods and technology to explore living systems as artistic subjects. A review of the field, published November 23, can be found in Trends in Biotechnology.
Bioart ranges from bacterial manipulation to glowing rabbits, cellular sculptures, and--in the case of Australian-British artist Nina Sellars--documentation of an ear prosthetic that was implanted onto fellow artist Stelarc's arm. In the pursuit of creating art, practitioners have generated tools and techniques that have aided researchers, while sometimes crossing into controversy, such as by releasing invasive species into the environment, blurring the lines between art and modern biology, raising philosophical, societal, and environmental issues that challenge scientific thinking.
Joe Davis is an artist who works not only with paints or pastels, but also with genes and bacteria. In 1986, he collaborated with geneticist Dan Boyd to encode a symbol for life and femininity into an E. coli bacterium. The piece, called Microvenus, was the first artwork to use the tools and techniques of molecular biology. Since then, bioart has become one of several contemporary art forms (including reclamation art and nanoart) that apply scientific methods and technology to explore living systems as artistic subjects. A review of the field, published November 23, can be found in Trends in Biotechnology.
Bioart ranges from bacterial manipulation to glowing rabbits, cellular sculptures, and--in the case of Australian-British artist Nina Sellars--documentation of an ear prosthetic that was implanted onto fellow artist Stelarc's arm. In the pursuit of creating art, practitioners have generated tools and techniques that have aided researchers, while sometimes crossing into controversy, such as by releasing invasive species into the environment, blurring the lines between art and modern biology, raising philosophical, societal, and environmental issues that challenge scientific thinking.
"Most people don't know that bioart exists, but it can enable scientists to produce new ideas and give us opportunities to look differently at problems," says author Ali K. Yetisen, who works at Harvard Medical School and the Wellman Center for Photomedicine, Massachusetts General Hospital. "At the same time there's been a lot of ethical and safety concerns happening around bioart and artists who wanted to get involved in the past have made mistakes."
The Evolution of Bioart
In between experiments, Alexander Fleming would paint stick figures and landscapes on paper and in Petri dishes using bacteria. In 1928, after taking a brief hiatus from the lab, he noticed that portions of his "germ paintings," had been killed. The culprit was a fungus, penicillin--a discovery that would revolutionize medicine for decades to come.
In 1938, photographer Edward Steichen used a chemical to genetically alter and produce interesting variations in flowering delphiniums. This chemical, colchicine, would later be used by horticulturalists to produce desirable mutations in crops and ornamental plants.
In the late 18th and early 19th centuries, the arts and sciences moved away from traditionally shared interests and formed secular divisions that persisted well into the 20th century. "Appearance of environmental art in the 1970s brought about renewed awareness of special relationships between art and the natural world," Yetisen says.
Continue reading at EurekAlert!
Bacteria image via Shutterstock.
