Artists

Sarah Cusimano Miles
Sarah Cusimano Miles
“Lilac-breasted roller (Coracias caudate) with kumquats”, Pigmented ink print 24” x 30” 2010
Sarah Cusimano Miles
“Frogs Specimens II”, Pigmented ink print 14” x 21” 2010
Sarah Cusimano Miles
“American Bitterns (Botaurus lentiginosus) with rose”, Pigmented ink print 24” x 40” 2010
Sarah Cusimano Miles
“Brown Bear (Ursus arctos)”, Pigmented ink print 24” x 30” 2010
Sarah Cusimano Miles
“African Elephant (Loxodonta africana) skin specimen”, Pigmented ink print 24” x 30” 2010
Sarah Cusimano Miles
“Barbary Sheep (Ammotragus lervia)”, Pigmented ink print 24” x 68” 2010
Sarah Cusimano Miles
“Bat (Chiroptera) specimen”, Pigmented ink print 14” x 21” 2010
Sarah Cusimano Miles
“Caiman (Caiman sclerops – juvenile) specimen”, Pigmented ink print 14” x 21” 2010
Sarah Cusimano Miles
“Puffer Fish (83.12.4) specimen”, Pigmented ink print 14” x 21” 2010
Sarah Cusimano Miles
“Pangolin (Manis gigantean) with garlic”, Pigmented ink print 24” x 68” 2010
Sarah Cusimano Miles
“Herring Gull (Larus argentatus) with artichoke”, Pigmented ink print 24” x 30” 2010
Sarah Cusimano Miles
“Goliath Heron (Ardea goliath) with pomegranate and specimen”, Pigmented ink print 24” x 30” 2010
Sarah Cusimano Miles
“Frog Specimens I”, Pigmented ink print 14” x 21” 2010
Sarah Cusimano Miles
“Copper Pheasants (Syrmaticus soemmeringii) with apricots”, Pigmented ink print 24” x 40” 2010
Sarah Cusimano Miles
“Chameleon (Chamaeleonidae) specimen”, Pigmented ink print 14” x 21” 2010
Sarah Cusimano Miles
“Red Deer (Cervus elaphus) with specimens”, Pigmented ink print 24” x 30” 2010
Sarah Cusimano Miles
“Two views of unlabeled seahorse (Hippocampus) specimen”, Pigmented ink print 24” x 30” 2010
Sarah Cusimano Miles
"Turtle Specimens”, Pigmented ink print 14” x 21” 2010
Sarah Cusimano Miles
“Unlabeled fish specimen”, Pigmented ink print 14” x 21” 2010

Artist Info

These selected photographs from the body of work, Solomon’s House, explore the collections repository of the Anniston Museum of Natural History in Anniston, Alabama. The specimens are taken from the dark storage where they reside, on shelves, in bottles, and in drawers, and bathed with light to illuminate the often disturbing and exquisite elegance of the accumulated and warehoused organisms. By portraying these objects through the tradition of the still life, the artist explores ideas of cultural decadence and beauty in stasis. In addition, these photographs are comprised of numerous single frames combined to construct high-resolution composite images. This allows for the capture and portrayal of the subject in a manner that goes beyond that which is possible through a single exposure. In this way the image exists as a double construction; once as the objects are assembled to be photographed, and again as the frames are combined to form the final image.

The title, Solomon’s House, references a work by Francis Bacon published in 1627 called “The New Atlantis”. In it, he wrote of a fictitious utopian science facility he called “Solomon’s House” that embodied the growing scientific ideals of the 17th century. Stirred by this fabricated institution, The Royal Society of England requested donations of private collections of natural objects to the society’s future museum of natural history and science. This repository of specimens was used for empirical observation and scientific study, however, the original function of the cabinets of curiosities from which the specimens were collected was to stimulate wonder and awe. It is this mysterious allure of the disquieting collection and the attraction to the confluence of science, technology, and art that informs these photographs.