Mezzanine art, or the stor(e)y between science and art

Abstract

On the final day of the Dublin Blaschka Congress 2007, I gave a fifteen-minute talk on the presumed role of Blaschka glass models in environments less connected to biology and science than to aesthetic or artistic contexts. The various lines of argument were presented as suggestive musings and speculations over some key questions as for example: How welcome are life-like replica's of the natural world in the world of art? How did art move away from science and how did science move into the realm of art? A digression was made into what could be called ‘anonymous art’; unintentional beauty found in linear representations of movement in the work of nineteenth century scientists that in turn inspired artists to find new ways of pictorial expression. What makes objects of functional, scientific or any other practical intention desirable for art collectors? Where exactly lies the transition from a potentially collectible item into an item of unique artistic value? And finally, in what sort of an environment, academic, private, museal, do these objects find their true home. The present paper follows tone and open-endedness of these musings and seeks to contribute to further discussions.

Keywords:

• anonymous art
• Blaschka
• glass eyes
• depot
• Sigfried Giedion

Acknowledgements

I am indebted to George Loudon who not only introduced me to the magic of the mezzanine world, but provided some of the key texts as well. Thanks go to Rosamond Purcell for her enthusiastic support and to Cathérine Weemaes for her Australian connection.