Anatomy Inside Rodin’s Hands

August 6, 2014 § 1 Comment

As impressive as the Rodin collection at Stanford University’s Cantor Art Center – one of the largest in the world, with 200 works in all – most of them are not one and only edition of the artist’s masterpieces.  As part of his bequest, Auguste Rodin authorized the Nation of France to continue to cast his works poshumously, either from his original plaster molds or from molds newly taken from his plasters.  Up to twelve examples of each size can be cast of each of Rodin’s works.

However, a recent exhibition at the museum (on view April 9 – August 3), inspired by the great artist’s sculptures of human hands,  was truly one of its kind.

A multidisciplinary collaboration between the Cantor Art Center and Dr. James Chang, a hand reconstruction surgeon at Stanford’s School of Medicine, supported by the School’s Division of Clinical Anatomy and the Lane Medical Library, “Inside Rodin’s Hands: Art, Technology, and Surgery” looked at the artist’s powerful depictions of hands with an anatomical eye, aided by cutting-edge technologies such as 3D imaging and augmented reality.    Take for example Left Hand of Eustache de Saint-Pierre.  The images and video clip here illustrate the three-dimension, anatomical view for visitors to see “beneath the skin”, with imaginary bones, nerves and blood vessels:

Photo of Rodin's sculpture "Left hand of Eustache de Saint-Pierre" during the scanning process. Photo by Matthew Hasel, Production Manager, Division of Clinical Anatomy, Stanford School of Medicine. Art caption: Auguste Rodin (France, 1840–1917), “Left Hand of Eustache de Saint-Pierre,” c. 1886. Bronze. Cantor Arts Center collection, Gift of the Iris and B. Gerald Cantor Foundation, 1998.359.

“Left hand of Eustache de Saint-Pierre” during the scanning process. Photo by Matthew Hasel, Production Manager, Division of Clinical Anatomy, Stanford School of Medicine. Art caption: Auguste Rodin (France, 1840–1917), “Left Hand of Eustache de Saint-Pierre,” c. 1886. Bronze. Cantor Arts Center collection, Gift of the Iris and B. Gerald Cantor Foundation, 1998.359.

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The Camera’s Cusp: Alfonso Cuarón Takes Filmmaking to a New Extreme With Gravity

January 22, 2014 § Leave a comment

By , originally published in the September 30, 2013 issue of New York Magazine.

Against a black screen, these words appear first.

“At 600 km above planet Earth, the temperature fluctuates between +258 and -148 degrees Fahrenheit. There is nothing to carry sound. No air pressure. No oxygen. Life in space is impossible.”

The screen disappears.

The planet—this planet, in three dimensions—appears.

Its arc engulfs you, outstretching in front, beside, and, somehow, below you. It is massive. Silently, majestically, cloud-covered and multicolored, it spins. There is the immediate sensation of everything—Earth, you—floating.

A spot appears along an orbital plane of the planet, off to the right, very far away, tiny, slowly moving closer. It is impossible to make out what it is. Telecommunication sparks: muffled, hollow, as if inside your ears, bits of a conversation between here and Houston. There are so many stars all around you. The planet continues spinning, the spot moves closer, drifting on its orbit until finally it arrives—the American space shuttle and a team of astronauts floating outside—and begins orbiting in the same space with you.

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