The intersection of science and art

Curator J.D. Talasek, who earned his master of fine arts degree at UD in 2001, is director of exhibitions and cultural programs at the National Academy of Sciences in Washington, D.C. He is curator of the traveling exhibition, “Visionary Anatomies,” in which the artists use medical images as their starting point. The exhibition was on view at the University Gallery this fall.

What is the National Academy of Sciences?
The NAS was established by President Lincoln in 1863. The academy’s Act of Incorporation says it will “investigate, examine, experiment and report upon any subject of science” when the government asks it to do so. It later expanded to include the National Research Council, the National Academy of Engineering and the Institute of Medicine. Collectively, the four organizations now are known as the National Academies.

Why does a scientific organization have an office focused on art and culture?
The purpose of the Office of Exhibitions and Cultural Programs at the NAS is to explore the intersection of art and science, medicine and engineering. Through our program, we hope to challenge perceptions and to provide a venue for artists working with these themes. There has always been a great dialogue between art and science, and it’s relevant now more than ever. There is a growing number of artists working in this genre whose art is being fueled by science and the effect science has on our culture, sense of identity and perception of the world around us. We are striving to provide a venue for these artists and to facilitate the dialogue between science and art.

How do art and science intersect?
Artists and scientists share a desire to make sense of the world around them, but they do so from different perspectives. They work from different epistemologies, but the differences
are what make the cross-disciplinary
discussion effective.

Does science often play an important role in art?
No one can deny the enormous impact that advances in science and technology have had on society. It’s a driving force, constantly and rapidly changing the world around us. At times, the role of the artist is that of observer and critic of our evolving culture. Where scientists seek to answer questions, artists often ask more questions than they answer. Other times, the role of the artist is to explain, illustrate and educate—often making the invisible visible. In the case of “Visionary Anatomies,” the invisible is what lies beneath the skin.

What’s the best part of your job?
Working with contemporary artists. I’ve met many artists whom I’ve admired since my undergraduate years. It is a privilege to have the opportunity to go into their studios and hear their thoughts firsthand and to gain insight into their process. As you can imagine, at the Academies, there is no shortage of experts. Certainly, the opportunity to learn is one of the pleasures of my job.

What led you to your current position?
My background is in the arts, with a special interest in photography. I don’t have a science background, although my original studies as an undergraduate were in computer science and engineering. I can attribute the root of my current career path to my experience at the University of Delaware. I came to UD to study photography, which I still do for myself. Prior to coming to UD, I had worked as a commercial photographer for almost 10 years and worked at the Dallas Morning News for six years.

Why did you choose UD?
I was searching for a new direction. I was introduced to a fantastic photography professor, John Weiss (now retired), whose enthusiasm for photography was contagious, and I came to UD to study with him. Coincidentally, the artist who introduced me to Prof. Weiss was UD alumna Connie Imboden [AS ’88M], whose work is in the “Visionary Anatomies” exhibition.

What kinds of projects did you work on in graduate school?
There was a photographer named Terry Falke, whose work I wanted to exhibit because I thought my fellow students would find it stimulating. The exhibition was titled “Observations in an Occupied Wilderness,” and it was well-received. It brought contemporary uses of photography to the UD community and was utilized in several undergraduate classes.

Did you find mentors at the University?
John Weiss certainly inspired me and remains a close friend. While I was working on the Falke exhibit, I became acquainted with Belena Chapp, who was the gallery director at the time. She and Prof. Weiss were very supportive, and I owe them a special thanks.

Have there been other influences on
your career?
I had a dear friend and classmate named Michael Hampton, [AS ’01M] who
co-collaborated with me on both exhibitions. Michael’s goal was to become a doctor, but he took an extra two years in an already demanding academic career to get his MFA. He had a radical thought that a degree in the humanities would make him a better physician, and he has since earned his medical degree. In a way, my friendship with Mike foreshadowed where I am now. Isn’t it funny how life comes together? Who could have planned it? z