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 his/her transformation into a passive object. As a result, it is also a reflection on the blurring lines between subject and object. Based on the work of the artist Lisa Temple-Cox and the critical view and comments of the observer Harcourt, this paper is a first-hand attempt to understand the configuration of the self and the influence of 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 (AU)
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