MSCHF’s ‘Anamorph Paintings’ are imbued with a similar dissidence as the other presented works. A humorous ‘education’ on the development of the art historical canon, the paintings depict the developments of form and style throughout time. Sorayamanetitian starts with Titian’s Venus of Urbino and ends with an eroticized robot by Hajime Sorayama. The visual transition foregrounds the similarities of the aforementioned works’ compositions and their relation to art history. What may have never been compared otherwise brings forth a notion that the past and present are not so different as one may imagine.
