The Art of Life in the Anthropocene

THE RED VEINS of a certain pink petunia flower come courtesy of human DNA — the A’s, C’s, T’s, and G’s that teach a cell how to build itself. With the help of a virus, Brazilian-born Eduardo Kac was able to stitch human DNA — his own — into a petunia, veining the flower’s petals in red by generating an antibody with a snippet of his genetic code. This so-called “Edunia” is neither the product of genetic research, per se, nor botanical gamesmanship. Kac is simply an artist, and the Edunia (along with limited edition seed packs) has been exhibited from Minneapolis to Barcelona, a show he calls “Natural History of the Enigma.”

Or, as Kac puts it:

The petal pink background, against which the red veins are seen, is evocative of my own pinkish white skin tone. The result of this molecular manipulation is a bloom that creates the living image of human blood rushing through the veins of a flower.

Such is art in the Anthropocene, this new era of man necessitated by our ever-expanding impacts on the planet as a whole, from geology to biology. Kac’s work is hardly alone. Bio-art in the Anthropocene ranges from a book stored entirely in DNA to a poem “written” by a microbe, a living poem known as “The Xenotext” to its progenitor (not exactly author) Christian Bök of the University of Calgary.

Head over to the L.A. Review of Books to read the rest.

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David Biello

is an award-winning journalist writing most often about the environment and energy. His book "The Unnatural World" publishes November 2016. It's about whether the planet has entered a new geologic age as a result of people's impacts and, if so, what we should do about this Anthropocene. He also hosts documentaries, such as "Beyond the Light Switch" and the forthcoming "The Ethanol Effect" for PBS. He is the science curator for TED.