Author Archives: cosmowenman

ISHTAR, QUEEN OF THE NIGHT

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“The figure of the curvaceous naked woman was originally painted red… The figure could be an aspect of the goddess Ishtar, Mesopotamian goddess of sexual love and war, or Ishtar’s sister and rival, the goddess Ereshkigal who ruled over the Underworld, or the demoness Lilitu, known in the Bible as Lilith.” —British Museum catalog

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MALE TORSO, DIADUMENUS TYPE

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“This torso is one of a prolific series of ancient replicas which are generally agreed to echo the Diadumenus (“he who attaches” a band around his forehead), a bronze produced c.440-430 BCE by Polyclitus. Polyclitus was fascinated by the male form and its reproduction according a system of skillful calculations that he set out in his treatise, the Canon. The Diadumenus was the fruit of this intellectual approach, which was of seminal importance in the history of Greek sculpture.” —Louvre catalog

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FEMALE TORSO, ESQUILINE TYPE

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“In style the Esquiline Venus is an example of the Pasitelean “eclectic” Neo-Attic school, combining elements from a variety of other previous schools – a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures… The statue’s subject has variously been interpreted as the Roman goddess Venus (possibly in the form Venus Anadyomene), as a nude mortal female bather, a female version of the diadumenos tying up the hair with a fillet.” —Wikipedia

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TATE PROPOSAL, TATE BRITAIN UNBOUND

The IK Prize is presented annually by Tate for an idea that uses digital technology to innovate the way we discover, explore and enjoy British art in the Tate collection.

My rejected project proposal for the Tate IK Prize 2015:

Tell us who you are and what creative digital projects you have done in the past (150 words max).

As a freelance designer, consultant, and lifelong informal art student, for the last several years I’ve been experimenting with the 3D capture, 3D printing, remixing, and copyright-free digital publication of antiquities and fine art.

I have published online several scans of works in the Louvre and British Museum.

My recently completed project Through A Scanner, Skulpturhalle produced and freely shared 3D surveys of 19th-century plaster casts of ancient Greek and Roman sculptures from the Skulpturhalle, Basel museum in Switzerland.

That project published for the very first time high-quality 3D surveys of Venus de Milo, Winged Victory, and the Medusa Rondanini, among several others. These surveys have been downloaded 70,000 times in the few months since their publication, and have been 3D printed by art lovers all over the world. This bleeding-edge project received international press coverage from a diverse collection of pop culture, tech, art, and conservation-oriented media outlets.

How would you use digital technology, platforms or tools, to “connect the world to art”, creating a new way for the public to discover and enjoy British art from Tate’s collection? (150 words max).

My project, Tate Britain Unbound, will digitize and publish online, copyright-free, archival-quality 3D surveys and 3D-print-ready models of iconic, public domain sculptural artwork from Tate Britain. 3D visualizations of the works will be added to Tate.org.uk

Demonstrations:
http://bit.ly/1sk6cP6
https://skfb.ly/BJMZ

The example shown at left is Eric Gill’s stone carving, Ecstasy, which I scanned, 3D printed, and cast in bronze.

The public can Tweet their remixed surveys to be 3D printed and displayed at Tate Britain, all broadcast via live webcams. Select remixes will be 3D printed large-scale and displayed.

Tate Britain Unbound will allow Tate Britain to experiment with projecting its collection outward, turning it into a living engine of cultural creation, to be endlessly adapted, multiplied, and remixed in unpredictable venues and media. We’ll set it loose to come alive in a vibrant, lively, and anarchic popular culture beyond the museum’s walls.

Tate Britain Unbound’s worldwide engagement with the public would begin immediately. Its effects will unfold over hundreds of years.

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THREE DANCING NYMPHS AT THE FRANK LLOYD WRIGHT HOLLYHOCK HOUSE, HOLLYWOOD

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My replica of the 1st-century A.D. marble relief from Roman Libya, Three Dancing Nymphs, is shown above on the first day of its installation at the Frank Lloyd Wright Hollyhock House in Hollywood, California.

The Hollyhock House was Wright’s first project in Los Angeles; it is now a museum and a candidate for designation as a UNESCO World Heritage Site. The original marble relief was the most important piece in the Hollyhock House’s original owner’s art collection, and was the last major feature missing from the house’s recent restoration back to its original 1920s decor—in the photo below, the photograph in the upper right corner from the 1920s is one of the few references showing where the original was located. Now that it is on permanent display in the loggia, my replica will be the first thing to greet museum visitors.

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