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This thesis analyses the representation of so-called human curiosities in recent visual art, by drawing a connection to historical practices of exhibiting 'monstrous' and deformed bodies within institutions such as freak shows, anatomical collections and medical museums. The last two decades have witnessed a surge of scholarly interest in the histories of these institutions, particularly through the work of Robert Bogdan, Rosemarie Garland-Thomson, Rachel Adams, Richard Sandell and Samuel J.M.M Alberti, whose research can be situated in interdisciplinary humanities fields such as disability studies, museology, history of science and literary and visual studies. Concurrently, a remarkable number of contemporary artists have also turned to the history and imagery of these spaces to explore the politics of display in exhibitions of non-normative bodies. This study addresses the critical gap between these two parallel domains of inquiry, drawing upon recent studies concerning historical exhibitions of monstrous bodies to analyse how contemporary artists have simultaneously confronted and extended these traditions through their artworks. In order to show that the very notion of 'monstrous bodies' is inextricably bound up in the curious display practices that frame them, I analyse the representation of human curiosities in the work of Zoe Leonard, Joanna Ebenstein, Diane Arbus, Mat Fraser, Pauline Boudry & Renate Lorenz, Marc Quinn and John Isaacs. Each chapter examines a distinct institutional context – the anatomical collection, the freak show, the art gallery, and the contemporary medical museum – to investigate how these artists challenge the meanings conferred upon extraordinary bodies within each space, bestowing new significance upon these forms within the context of their various art practices. I argue that, by doing so, artists themselves can take on roles like curious collectors, freak show talkers and teratologists, revealing the potential for 'art' to act as yet another display framework that imposes a particular set of meanings onto anomalous bodies.

Tapybos darbų kolekcijoje nagrinėjama socialinė, psichologinė problematika, kur formų, spalvų, dėmių ir kitų detalių visuma virsta tam tikra ženklų sankaupa, paveiki psichologinėmis formomis. Visa tai transformuojasi į trijų darbų kolekciją : " TARP MEILĖS IR PRIKLAUSOMYBĖS/STOKHOLMO SINDROMAS1/ODI DE AMO2" - tai psichologinė emocinė sąvoka reiškianti, įkaito priklausomybę nuo kito žmogaus arba tam tikras dvilypiškumo sąsajas. Personažai, turintys skirtingus vaidmenis, pvz., lyčių stereotipus,”<...> kai moteris sąmoningai tapatinasi vien su savo moteriškumu ir ignoruoja animus (t.y vyriškumo) energiją, jai sunku būti objektyviai, diferencijuoti, vertinti, atsirinkti, orientuotis pasaulyje. Visas šias funkcijas ji perleidžia vyrui ir dėl to yra priklausoma nuo jo <...>”3. Tai rodo vyro ir moters, skirtingus simbolinius opozicinius lyčių skirtumus. Vyro - dominavimą, valdžią, moters – paklusnumą. Taigi trapios, dramatiškai inscenizuotos moteriškos figūros, pasimetusios uždaroje erdvėje, apsuptos vyriškumo, parodo „<...>žmogaus izoliaciją ir kovą, o kartu nuolatinį poreikį grįžti į pradžią ir pradėti iš naujo<...>“.4 Darbų ciklui sukurti naudojamos skaitmeninės fotografijos, eskizai, tapybiniai bandymai. Remiantis sukaupta vizualine medžiaga, eskizavimu, sukurta trijų darbų kolekcija, aliejinės tapybos bei graffiti technologijomis ant medžio plokštės. / In collection of paintings, topic and expression, analyses the social, psychological problems, where forms, colors, spots and other parts of a whole becomes particular aggregate of signs, influencing psychological forms. This entire are being transformed into a collection of three works " between love and addiction / STOCKHOLM SYNDROME / ODI DE AMO - this is a psychological concept of emotion which means dependence on other person or particular links of ambivalent. Personages have different roles, such as, stereotypes of gender, " ... when a woman deliberately identifies themselves only with their own femininity and ignores the animus (i.e., masculinity ) energy, it is difficult to be objective, to differentiate, evaluate, select and oriented in the world. All these functions that she gives to man and for this she is dependable on him <..>. This represents men’s and woman's different symbolical oppositions genders differences. Man's - dominance, authority, women’s - humility. So fragile, staged a dramatic female figures, lost in an enclosed space surrounded by the male, shows " ... the human isolation and fight, and together the constant need to go back to the beginning and start over ... ".4 To create a cycle of works are being used digital photography’s, sketches, and tests of paintings. Sustaining stored visual materials, sketching, was created a collection of three works, oily paintings and technologies of graphities on panel of wood.