In the past years, bee populations have been devastated by something scientists are calling Colony Collapse Disorder, causing a global crisis for humans and other animals. Sam Dreoge, a biologist at U.S. Geological Survey’s Patuxent Wildlife Research Center, catalogs hundreds of bee species in his lab. As the head of the USGS Bee Inventory and Monitoring Lab, Dreoge produces stunning high-resolution images that capture the diversity and spellbinding beauty the fascinating and helpful little creatures.
Dreoge’s photographs, which are used to identify and track bee populations, are often magnified up to five times the actual size of the insect. Focusing on minuscule details normally only visible under a microscope, most of the pieces are composites of numerous images, shot at multiple ranges with a 60 millimeter macro lens. Each image is also carefully edited, scrubbed of specks of dust. In preparation for the photo shoots, each bee specimen undergoes a bath in warm water and dish soap, after which they are carefully blow-dried to showcase their astoundingly beautiful, vibrant hair.
Dreoge’s images of bees read like the technological age’s answer to Leonardo da Vinci, who studied and sometimes killed insect specimens for the dual purpose of art and science. Research like this always raises ethical flags, but that moral question becomes more complicated when we are confronted with environmental crises like CCD. Bee populations are effected by parasites as well as problems caused by humans, like pesticides and climate change; it’s imperative that we find a way to save these miraculous animals, and Dreoge’s work could go a long way. What do you think? (via Smithsonian and Colossal)
During his graduate studies in microbiology, artist Zachary Copfer invented a new type of photography, one grown entirely of living bacteria. By exposing sections of microscopic organisms to radiation, he accelerates their growth, allowing them to multiply and compose vivid photographic portraits. Copfer’s subjects include both artists and scientists who inspire him; famous images Albert Einstein and Pablo Picasso are replicated in Serratia marcescens, a human pathogen often associated with infections of the urinary tract and respiratory systems. The portrait of Stephen Fry is made of bacteria found in the actor’s own body.
Copfer’s portraits closely resemble the art of Roy Lichtenstein; his faces bear the same comic book-style polka dots made famous by the legendary pop artist. Also like Lichtenstein’s paintings and prints, they are duplicates of mass-produced, iconic public domain images. But quite unlike the work of Lichenstein and his colleagues, Copfer’s images are imbued with an undeniably unique and human tenor. These bacterial cells, some drawn from the bodies of the subjects they portray, are corporeal and therefore inevitably personal. In contrast the ink used by the pop artists, these cells will someday die. Though iconic, these portraits are ultimately of mortal men, and the fact that they are rendered here in disease-causing bacteria only underscores that fact.
In addition to portraiture, Copfer experiments with photographs of celestial bodies. Here, in glowing green E. coli genetically modified with GFP, the vast cosmos are paradoxically formed from the microscopic, reminding us that in the end, all matter great and small is profoundly interconnected. Take a look. (via Jezebel)
The Paris-based sculptor Elisabeth Daynès listens to bones, to the remains of our evolutionary ancestors that have lived up to three million years ago. Throughout her prolific 20 year career, the “paleoartist” has worked from the skulls of wooly mammoths to species of hominid to create vividly detailed figures. Based on 18 data points that mark the bone, she can use a computer to model facial features that she later shapes out of clay. She refers to research and other bone samples to determine the build of her subjects, and ultimately she creates a silicone cast, complete with delicate painted features: veins, goosebumps, blemishes.
In a final step towards humanizing her sculptures, Daynès includes prosthetic eyes, teeth, and hair, each of which is as historically and scientifically accurate as possible. Current research suggests that Neanderthals, for example, had red hair; for her uncanny hominids, that range from Homo sapien to Homo erectus, she uses a blend of human hair. In her mind’s eye, the artist draws an informed portrait of each subject she reanimates; from the bones, she can determine period, sex and age, along with finer details like culture, climate, diet, and health.
For Daynès, this process is as much an art as it is a science. Ultimately, she hopes to reconnect with our past, embarking on a forensic search of what makes us human. Dismayed by the ways in which early human ancestors are reviled as unintelligent brutes, she injects her creations with a powerful dose of humanity; their brows furrow with concentration, and their eyes are painfully gentle. She explains “missing” them when they leave her studio for a permanent home in a museum. Take a look. (via Daily Mail and Lost at E Minor)
Informed by his education in biochemistry, photographer Linden Gledhill concentrates his work on the beauty of small, natural objects. With a fully automated macro focusing rail called StopShot (created by Cognisys), Gledhill is able to capture a high resolution macro image stack that is accurate down to 0.01 mm. With this specialized lens, Gledhill explores the structures and textures of butterfly and moth wings, exposing the shimmering and glittering form of the wings that almost look like textiles or flower petals. Beautiful patterns emerge from Gledhill’s photography, ones that mirror large and familiar patterns found in the world around us. You can see much more of Gledhill’s incredible macro photography on Flickr. (via slow art day)
Rose-Lynn Fisher - whose anatomical bee photographs we have previously featured - has recently completed a series of images she calls “The Topography of Tears” that represent a study of 100 types of tears photographed through a microscope. During a difficult time that yielded a copious amount of tears, Fisher began to wonder if her grief tears looked the same as onion tears when viewed under a microscope. Using her own and others’ tears, Fisher was able to create a varied landscape of tear structures, demonstrating the diversity to be found within tear types. Fisher’s images almost resemble aerial views, these tear structures fractally resonating with larger scale structures found in the world.
Fisher says, “Tears are the medium of our most primal language in moments as unrelenting as death, as basic as hunger, and as complex as a rite of passage. They are the evidence of our inner life overflowing its boundaries, spilling over into consciousness. Wordless and spontaneous, they release us to the possibility of realignment, reunion, catharsis: shedding tears, shedding old skin. It’s as though each one of our tears carries a microcosm of the collective human experience, like one drop of an ocean.” (via smithsonian mag)
The photographer Xavier Lucchesi doesn’t use a camera to capture his portraits; instead, he penetrates the human body with an advanced x-ray machine, revealing organs, arteries, and bones. The artist adds color to the medical images, highlighting the intricacies of the human body in electric blues and deep, bloody reds. For Luccesi, the act of seeing is active and passionate; a passing glance is insufficient, and to truly view another truthfully is to dissect and peel away exterior layers.
Lucchesi’s portraits are perhaps those of our deepest human core: when our superficial features are stripped back, a more primal self emerges. Lucchesi’s sitters are laid completely bare; though they might pose or strain, their bodies betray secret inner worlds and open them up to a profound vulnerability. A triptych presents a man in three stages of undress: clothed, then nude, then uncovered and unprotected by skin. As he lays with his arms crossed, the x-ray bears down on him, and he becomes increasingly naked, at the mercy of our eager, inquisitive eyes.
As we reach new levels of intimacy with our own bodies, they reveal themselves like brightly colorful and graphic foreign roadmaps; red blood vessels line the figure like highways, leading to pale geometric bone or grassy green lungs in either direction. Like an intricate maze of machinery or a small, delicate cityscape, the miraculous pieces of the human being—the flesh, the lungs, the ribcage— function autonomously, just beneath the surface of our gaze. Take a look. (via Design Boom)
Nearly 10 years ago, photographer Rachel Sussman began researching with biologists and traveling world to document forms of natural life that are at least 2,000 years old for her project titled “The Oldest Living Things in the World.” Part art, part science, Sussman’s project engages with the natural world in order to capture a brief moment in the organisms’ millenia-old lives; her photographs ask viewers to consider their own lives alongside these natural ones, some on the verge of extinction. Each of her photographs includes text below the image describing the subject, its location, and its age. In the preface to her project’s book, Sussman writes,
“What does it mean when the organic goes head-to-head with the geologic? We start talking about deep time and the quotidian in the same breath, along with all the strata in between. All of these organisms are living palimpsests: they contain myriad layers of their own histories within themselves, along with records of natural and human events; new chapters written over the old, year after year, millennium after millennium. When we look at them in the frame of deep time, a bigger picture emerges, and we start to see how all of the individuals have stories, and that all of those stories are in turn interconnected — and in turn, inextricably connected to us all.
The oldest living things in the world are a record and celebration of the past, a call to action in the present, and a barometer of our future.”
The painter Casey Baugh’s vibrant images are so astoundingly realistic that they could easily be mistaken for photographs if not for the eery, impressionistic brushstrokes that are only visible at close range. In rich and moody blues and blacks, the artist imagines a social and psychological landscape dominated by technology, a world where humans and machines coexist in a heightened state of tension and theatricality.
With conventionally beautiful women serving as his subjects, Baugh seduces the viewer; the photorealistic flesh glistens in soft, dreamy blues. Technology becomes a fetish object of sorts as wires coil about the curves of the female body, entangling and binding her while her sensually lit face surrenders to a strange sort of ecstasy, her body reclining suggestively.
Despite the powerful allure of technology, Baugh’s work also serves as a warning against our surrender to it. The remote, mechanical aspects of our modern lives— electronics, social media—entrap the human self with their metallic sheen and magnetic glow. A woman is seemingly choked by a collar made of industrial piping; the piece, titled Ammonoid, suggests that the foreign object has in fact integrated itself into her anatomy. Similarly, a girl is bound in glistening cellophane and confined to a cell, hooked up to televisions without chance of escape. Sadly, Baugh’s women, drawn to the irresistible blue screens, have become as much machine as human being.
The form of the work mirrors its thematic content; at first, the images look like photographs, captures of real events, but upon second glance, it becomes clear that the scene is an expertly-painted illusion. How much of our experience with technology is real? At what point do we sacrifice a truthful mortal existence for the entrancing (and ultimately fleeting) world of technology? (via HiFructose)