Death: A Self-Portrait, at the Wellcome Collection

This Thursday I headed to the Wellcome Collection in London for the first day of an important new exhibition which tackles one of society's biggest taboos: death. Though we all know that death is an inevitable conclusion - the 'self-portrait' of the title refers to you, too - it's something which most cultures struggle to articulate and prefer to leave as an afterthought. The Wellcome does the opposite and confronts the Grim Reaper-shaped elephant in the room, which is both brave and eye-opening.

 La Vie et Mort postcard, c.1900-1910, with unforgettably clever imagery.

All images via the Wellcome Collection.

The exhibition is based on the huge collection of deathly artwork amassed by former art dealer Richard Harris (no, not the bloke who played Dumbledore), gathered over 12 years and covering all kinds of different cultures and time periods. From a 1300s skull sculpture to 1800s Japanese paintings, right up to an incredible plastecine piece (2011) by an Argentinian art collective, the theme of mortality is ever-present. If you're one of those people who finds morbid imagery a bit too creepy then this is a brilliant place to confront your fears and end up feeling a bit more comfortable with skeletons, bodies and rituals.

When Shall We Meet Again? Gelatin silver print, c.1900.

As someone who loves skull motifs and wrote an incredibly long art theory essay on anatomy in the art world, I was certainly in my element exploring the collection, from vanitas portraits to anonymous photos featuring people posing alongside skeletons. Death is one of those things that unites us all, rich or poor, and it completely goes against the kind of things I write about on this blog for the rest of the time - all those outfits and handbags mean very little once you're gone, except for maybe helping you to look your best in the funeral home. This exhibition looks at some of the ways in which people try and keep memories alive, through portraits and ritualistic altar building, and also the ways in which they begin to accept death, such as in the use of memento mori in imagery. There was also a lot of attention paid to anatomical discoveries and the advances that helped us to understand the body, which obviously involved cadavers, and there was a really touching sepia photo from an anatomy class that was titled 'When will we meet again?' that caught my eye. The contradiction of preserving bodies by exploring an expired one is something that anatomists are constantly aware of.

If you're at all interested in skulls and conceptual imagery then you need to pay a visit to the Wellcome Collection; it's free, fascinating and you will come away with some very big questions. There is also a series of events accompanying the exhibition, so take a look at the website and find out how you can get under the skin of this important topic. It definitely puts things in perspective.

Death: A Self Portrait - 15th November 2012 - 24th February 2013.

Wellcome Collection, 183 Euston Road, London NW1 2BE (nearest tube station is Euston Square).

Would You Bid on this Handmade Applique Skull?

[Images via Ebay]. 

As an anatomical design addict, I'm always on the lookout for cool skull-related things, and I can often be found scouring eBay for beads or clothing which has a touch of the macabre. I didn't quite know what to think when I came across this lovingly made sequinned skull, which was up for sale on eBay. It's obviously taken someone a hell of a long time to make (I should know - I created Freddie Mercury out of beads and sequins for part of my GCSE in Textiles, and it was a labour of love), and there's a sweet homespun quality to it, but if we're going to be sticklers for accuracy then this is not really a very happy human head. It appears to have a double chinned jaw, uneven cheekbones that suggest a violent death (perhaps a bar brawl?) and what is potentially a purple bow or some severe damage at the top. The mouth is also looking slightly like a trauma site. I have nothing against DIY, but when this is placed alongside listings for thousands of identikit beads that are neatly symmetrical and reasonably anatomically correct, it does stick out like a sore thumb.

[Back view of the skull]. 

The creative person responsible has also shown the back view, so you can get an idea of the intricacy of their handiwork, but this camera angle sadly doesn't flatter the uneven design. I haven't posted a link to the listing because I'm not trying to get people to send the seller awkward questions or anything, but I couldn't help chuckling to myself when I saw this. It's quite sweet that the maker spent so long on this piece and then decided to part with it - I'm not sure I could say goodbye to something so labour-intensive (yes, Freddie Mercury is languishing in my attic as we speak). Anyway, I hope this applique skull finds a home with someone who will treasure it for the idiosyncratic take on this symbol. Long live homemade craft!

Polly Interviews: Laurie Lipton, artist

Photograph of the artist, copyright Laurie Lipton.

Please click on the image above for a larger view of this interview. Laurie Lipton is a fantastic artist, whose work is highly recognisable due to her collaboration with AllSaints, when a series of anatomically-focused t-shirts were created. Lipton hasn't just capitalised on a gap in the market; she believes in the work that she produces, and she loves her job. Having recently moved to Los Angeles, she will not be forgotten by her London fans. You can view her work at:

www.laurielipton.com

This interview was originally conducted as part of my journalism portfolio whilst at LCF, and it formed a larger article on the lure of anatomical illustration and its fashionable appeal. It was a privilege to talk to Lipton, and she really is a lovely and highly talented woman.

To see my entire final project (a 28 page magazine), please click here.

Corporeality

Above is a photo of me (taken by my friend, without me realising!) the day after I had an operation on my toe. Yeah, that's me cleaning up my shoe after things got a bit bloody. Somewhat logically, after all the toe stuff, I decided to wear my skeleton jumper - you could say I was feeling a little more aware of the ins and outs of my body after watching it get stitched up and constantly re-bandaged! And the leopard print dress underneath (seen as a skirt) is one of my favourites. The scary thing is that leopard print is 'in' for this Autumn/Winter, and I just hope it doesn't put me off because scarcely a day goes by when I don't have something on that features it. But I hate wearing what everyone else does - where's the originality in it? I take elements of the high street and photoshoots from magazines and work them into my existing wardrobe and hope for the best, but I would never want to look like a clone. It's nice to express your personality in your dress sense, and not someone else's.