ABSTRACT
Why should an artist look to anatomical or pathological specimens as a reservoir of images with which to facilitate an articulation of his or her own artistic or personal identity? This is the starting point of a reflection on the disappearance of the artist and its transformation into a passive object. As a result, it is also a reflection into the blurring lines between subject and object. On the grounds of the work elaborated by the artist Lisa Temple-Cox and the critical look and comments made by the observer Harcourt, this paper is a first-hand attempt to understand the configuration of the self and the influence of the artistic intervention in the generation and representation of anatomical knowledge, resulting in an exploration into the intertwined processes that create both historical subjects and historical objects.
