Alba, the Fluorescent Green Bunny

In 2000, artist Eduardo Kac enlisted a geneticist to bioengineer an animal that does not exist in nature.  The result was a rabbit containing genes that cause it to fluoresce under black lights, a characteristic of certain kinds of jellyfish and sea pens.  The project caused considerable controversy in the press, as people questioned the morality and usefulness of genetically engineering an animal solely for art's sake.

The truth is, the project was specifically created to generate this controversy.  The rabbit, named Alba, questions the morality of genetic engineering, a practice that is often taken for granted in our current society.  The public outcry proved that the project had touched on a nerve.

But what, exactly, was that nerve?  Was it the morality of genetic engineering for science, or was it more related to the fact that the rabbit was created solely for art?  In addition to questioning the morality of certain aspects of science, the Alba project calls specific attention to the line between science and art.  Many thousands of animals are genetically engineered every day for the cause of science (mice, rats, fruit flies, etc.), so why not for the cause of art?  The project shows the disparity in credibility between science and art, especially in the public's eye.

The reason for this disparity is, of course, extremely complex, and would require a thorough examination of science and art history.  Yet whatever the cause, it is clear that contemporary art is viewed by many as useless; a luxury for a privileged intellectual elite.  I believe that it is this apparent lack of utilitarianism that frustrates many with contemporary art.  Science, on the other hand, is the ultimate utilitarian establishment, generating useful technology at a blistering rate.  Kac's Alba project throws this reality right in our face.

The Alba project offers no answers, though it does ask some very important questions.  But as a work of art, its main flaw is that it is purely conceptual.  The effect of the project is only perceived when you take the time to think about it, rather than being initiated by a subjective experience.  Kac originally planned to keep Alba as a pet, and have her interact with people.  After the outcry over the project, Kac was not allowed to keep Alba, and this final part of the project was not realized.  Coming face to face with a creature like Alba would have indeed provided the necessary subjective experience, forcing viewers to judge for themselves whether this creature was a normal animal, an abomination, or a clever critique of science and art.

Both photos are from Kac's website, and are credited to Chrystelle Fontaine.  The first one shows Alba glowing green under black lights, and the second shows Kac holding Alba under normal white lights.