21C Museum, Kentucky, USA Art Gallery of New South Wales, Sydney, Australia Art Gallery of South Australia Artbank, Sydney, Australia Bendigo Art Gallery, Victoria, Australia Griffith University, Queensland, Australia Middelheim Museum, Antwerp, Belgium Monash University, Victoria, Australia National Gallery of Australia, Canberra, Australia National Gallery of Victoria, Melbourne, Australia National Museum of Women in the Arts, Washington DC, USA Newcastle Region Art Gallery, New South Wales, Australia Parliament House, Canberra, Australia Phoenix Art Museum, Arizona, USA Queensland Art Gallery, Brisbane, Australia The University of Melbourne, Victoria, Australia The Vehbi Koc Foundation, Istanbul, Turkey Thomas Olbricht Collection, Berlin, Germany Waverley City Gallery, Melbourne, Australia Weatherspoon Art Museum, North Carolina, USA Giovanni Aloi, Patricia Piccinini at Haunch of Venison, White Hot Magazine, February 2013, Andrew Taylor, “Leaving the comfort zone of the familiar”, , 2013, pp 41.
Morgan, 'Patricia Piccinini - I have spread my dreams under your feet', , 10 December 2003, Piccinini - update,' au,
Should we do something just because we are capable of doing it?
The babies could be a sign of the characteristic and similarities we as humans have with the creature, as we both nurture our offspring.
An audience of objective observers would relate to this work very differently to relatives of family that have diseases in which biotechnology could save them.
The audience, at first glance, could be disturbed by the creature due to its obscure appearance however on closer inspection when looking at all the similarities the creature has with humans and how life like it appears an audience could start to feel pity or empathy.‘The Young Family’ was first exhibited in the Australian Pavilion in the Venice Biennale in 2003 and is often exhibited in art galleries.You use all of these agents when interpreting and explain art.You should also attempt to use the Conceptual Framework when shaping and generating your own art making practice.The human like realness of the skin along with the pig like representation of the teats and ears symbolises the idea scientist have on growing human organs in other species such as pigs.Piccinini is starting to question the bioethics we have when it comes to science and technology.They range from the aggressor in to that montage of corpses cobbled together by Victor Frankenstein to our current favorites—vampires, zombies, and serial killers.Sometimes monsters can barely be distinguished from angels, as in the hilarious UFO abduction stories that, like go-go boots, had their faddish moment and still occasionally show up at parties.As Scala remarks in his introductory essay (which bears the same title as the exhibition and book), “If our inner beings are combinations of reason and instinct, traits we often think of as distinguishing human from animal, then fairy tales and other fantastic representations can close gaps within ourselves, and between us and the world.” The many artists represented in this beautiful catalog help us close the gaps by leaping imaginatively across them as if they didn’t exist.Scala argues against notions of human exceptionalism that would prevent such gambols.She was inspired by the idea of the ‘artificial’ world merging with reality and her own personal fantasy of what the future will become if we continue to progress in biological engineering.‘The Young Family’ portrays Piccinini’s own fantasy world of a type of hybrid that crosses a human with the genetics of a different species.