Still Life

“Body Worlds 3 is a science exhibit, not an art show. That is why Dr. Gunther von Hagens’ exhibit is at the Arizona Science Center and not a gallery. But, while there may not be artistic intent (per se) there is artistic relevance. Its presence is a testament to Phoenix's growth at a city and though scientific in nature it's bound to have an impact on our city's artists and patrons.”

The above is how this article started before I walked into the show. Now I’m not so sure about that. Yes, it is a science exhibit, but I think there’s plenty of room to admire the show for its craftsmanship as much as for the learning experience. The counter-weighting is ingenious. I have no idea how some of those bodies remain posed without the use of cables. Yet, there they are hanging in the air by an elbow or leaning at a terribly gravity un-friendly angle. I was so taken with the engineering of it that I almost forgot that I was looking at what used to be a person, until I noticed he was looking back at me.

It’s a very odd sensation to be six inches away from a body that is staring at you in a very lifelike manner … while missing all his skin … with his biceps filleted and sprouting out of his arm like some strange meat fern. It really is quite fascinating.

There has been some controversy surrounding the Body Worlds exhibit because, in the words of Charlton Heston, “it’s peeeeeeeeeeeeeeeeeople!” I have difficulty understanding the ethical dilemmas that some associate with the exhibit. It is dead bodies on display in a public venue. I agree it might not be for the squeamish or faint of heart, but in essence it is no different then a mummy exhibit and no one has gotten mad about those for decades. Of course it is far more impressive and comprehensive then anything you’d see at a mummy exhibit. The plasticized corpses are very artfully arranged demonstrating just about everything you’d ever want to know about muscle groups. For example, did you know that the longest muscle in the human body is called the “sartorius muscle”? It runs from the outside of the hip to the inside of the knee. I didn’t know that before I walked in there. Perhaps that’s why I could never draw legs no matter how much I stared at them. I digress.

There is a lot to learn from this exhibit, but more importantly we need to understand the relevance of the exhibit to (not as) art, and more specifically its importance to Phoenix and our city's growing arts culture. This is not a show that indiscriminately tours around the country. Its three incarnations now on tour are currently at or scheduled to appear in only five other US cities this year combined, and have only been hosted by nine US cities since the first Body Worlds opened in 1996. So the fact that the show decided to come here is very impressive. Body Worlds hasn’t done New York yet, but it’s here in Phoenix. How did that happen?

"It is often a case of serendipity rather than scouting," said the exhibit's director of communication Gail Hamburg. "We are intrigued by a city, its culture, and its people and make known our desire to be there, and eventually, we find ourselves being invited to present the exhibition there. Certainly, Phoenix captured our imagination for its reputation as a health conscious city, a center of integrative medicine, and as a place that valued scientific and intellectual exploration."

Ms. Hamburg, therefore, is saying that Body Worlds arrival in Phoenix is a testament to our city's continued growth in both size and cosmopolitanism. The show didn't come here to shock us; and it isn't a grotesque freak show like some have suggested. I admit there are moments when you remember that what you’re looking at used to be alive, which is a little odd. On the other hand the “arterial configuration of a lamb” piece elicited a very audible “awwww” from me (it’s cute, can’t be helped). The point is that Body Worlds 3 is here because Phoenix is a culturally significant city capable of appreciating the wonders of nature … albeit juxtaposed with a very synthetic process.

Perhaps even more exciting is what it means for the city in terms of how we experience art. Yes, the show is graphic in it's accuracy but there is nothing to see except the truth about our own bodies. It is nothing to be afraid of in any rational sense. If you find that you are completely terrified of the idea in an irrational sense then I have to admit there are parts of the exhibit that might make you a little jittery. However, patrons of the arts and sciences of sufficient constitution should appreciate the opportunity. I promise you this: you will never look at portraiture or nudes the same way again. Not ever.

Likewise, there is plenty of benefit to the artist as well. We all know the stories of how Leonardo learned to draw bodies. Here we have a fantastic opportunity to see bodies deconstructed in motion, muscle and tendon frozen in action, vein structures, and joints. Likewise, our sculptors will be fascinated by the arrangements that seem to defy logic by staying up and possibly by the explanation of the process of plasticization itself (if plastics are your medium of choice). The plasticization process may not be art, but it’s certainly inspiring.

I don't comprehend how curiosity can be outweighed by any other feelings on the subject despite the show's visceral nature. For our local artists this exhibit is a fantastic opportunity to reflect on the difficulties of realism and get some ideas on how to improve their own work. Even better, no one has to resort to finding a coroner who will let you watch. Instead you can look in a clean, well-lit space that doesn't ... that feels ... well, that isn't a morgue. For patrons it will change the way you look at people, which in turn will change the way you look at art. The show is not and should not be dismissed as simply a gross caricature of the human body. Some have called it gross but on a whole such notions are easily dismissed when weighed against the show’s cultural value and historical significance. It runs through May 28th. I highly recommend seeing it.