Artfully picturing the future of genetic research

Paradise Now: Picturing the Genetic Revolution

Through Dec. 15

Regina Gouger Miller Gallery… Paradise Now: Picturing the Genetic Revolution

Through Dec. 15

Regina Gouger Miller Gallery

Carnegie Mellon University

(412) 268-3618

www.cmu.edu/millergallery

Within the past five years, animal cloning has become a reality, patents have been placed on the altered DNA of several organisms, and the map of the human genome has been completed. For anyone who ever watched a sci-fi flick or dreamed of what could be coming next, the vision ranges from miraculously inspiring to downright frightening.

“Paradise Now: Picturing the Genetic Revolution” is a traveling exhibit at the Regina Gouger Miller Gallery at Carnegie Mellon University. It was first organized by Exit Art in New York City and provides more than 30 carefully selected artists with the chance to communicate their vision: the language, imagery and prophecy powered by genetics.

Co-curators Marvin Heiferman and Carole Kismaric wrote, “We are now at a threshold, witnesses to the moment when genetic research is rewriting the definition of life.” The artists encourage us to ask ourselves what this means through paintings, sculptures, videos and interactive installations.

Bryan Crockett’s “Pinkie,” a realistic sculpture of what looks like an eerie, fleshy newborn mouse lounging in a human-inspired position, is one man’s vision of the modern Christ figure. “Pinkie” is an interpretation of the “oncomouse,” a patented transgenic lab mouse engineered to have a human immune system for the purpose of research, sculpted as mankind’s latest salvation.

A gigantic classic photo titled “Mother and Child” completed by Heather Ackroyd and Dan Harvey in 1998, hangs from the wall with the tonal range of a black and white photograph. Why is this so special? The entire piece is made of a genetically altered “stay green grass.” The grass seed allows the artists to create a photo using different intensities of light and the chlorophyll produced by the grass. It then stays green for a number of years, even after being dried.

The living cancer cells of Henrietta Lacks lie for us under a microscope, projected onto a television screen. Artist Christine Borland provides the story: In 1951, Lacks died from cancer at the age of 31. Her cancerous cells contain a genetic abnormality that allows them to live outside the human body, the first ever. They have been widely used to study human illnesses, including having been sent to space to learn the effects of zero gravity on the body. The Lacks family was not made aware of Henrietta’s contribution until a few years ago, when they were called and asked for some of their own blood samples. They are still fighting to win her some amount of recognition. Borland purchased Henrietta’s cells commercially.

Eva Sutton presents “Hybrids,” the type of interactive portraiture that comes to mind when you cross episodes of “The Jetsons” with your worst nightmare. Using the provided mouse to click on her eloquently framed and suspended flat computer screen forms any number of grotesque hybrid animals, complete with chilling sound effects.

The exhibit offers a variety of ingenious viewpoints and creations. It even contains live specimens, a part of Brandon Ballengee’s attempt to back breed a species of frog to its original, un-evolved state (reminiscent of “Jurassic Park” ideals). Ultimately, it evokes the hopefulness, the terror, the beauty, and the business opportunities that lie ahead as integral parts of the genetic revolution.