“The boundaries which divide Life from Death are at best shadowy and vague”*…
In order to see the appeal of the forthcoming Morbid Anatomy Museum, you have to understand the death-centric collection—think skeletons, taxidermy, medical oddities— as neither kitschy nor creepy.
“I like to think about how our attitudes about things have changed; and in particular our attitudes about death, because I think that is the most fertile thing to examine,” says Joanna Ebenstein, the founder of the Morbid Anatomy Library, which is the basis of the museum. “The way we think about death now, these images seem completely inappropriate. It seems voyeuristic and wrong and horrible. But I would argue, in some ways, that they were dealing with grief in ways that we don’t really have a capability with any longer because we think it’s so inappropriate.”…
“It really speaks to how much we’ve changed as people that this could become exotic and other. It never was before; there was never a period in history where death was so other than now.” Confronting that chasm is, in part, the purpose of the museum…
The Morbid Anatomy Museum opens in Brooklyn next month, when it will feature its permanent collection (sampled in the photo above), a 2500-volume library, a lecture series, classes (e.g., taxidermy), and special exhibits (like Water Potter’s “Kitten Wedding,” from the 1890s, pictured below).
Read more at “Coming Soon to Brooklyn: The Morbid Anatomy Museum.”
* Edgar Allan Poe
As we memento mori, we might we might send rebellious birthday greetings to Jean Vigo; he was born on this date in 1905. The son of Catalan anarchists, Vigo migrated to Paris and became a film maker. A founder (with Jean Renoir) of “poetic realism” in film, Vigo is best remembered for two films, both hugely impactful on French and world cinema: Zéro de conduite (1933) and L’Atalante (1934). The former– a tale of rebellious school boys– was the inspiration for Lindsay Anderson’s marvelous If…; the latter– the story of a marriage falling apart, then healing– was chosen as the 10th-greatest film of all time in Sight & Sound’s 1962 poll, and as the 6th-best in its 1992 poll. He’s widely considered the “grandfather” of the French New Wave, on whom he had an enormous influence.
Writing of Vigo’s death in The New York Times, film critic Andrew Johnston judged: “The ranks of the great film directors are short on Keatses and Shelleys, young artists cut off in their prime, leaving behind a handful of great works that suggest what might have been. But one who qualifies is Jean Vigo, the French director who died of tuberculosis at age 29 in 1934.”