“[T]he mere knowledge that such a work could be created and still exists in the world makes me feel twice the person I was. I would say something about it if everything one could say about such a work were not a waste of breath. Works of art exist to be seen, not talked about, except, perhaps, in their presence. I am thoroughly ashamed of all the babbling about art in which I used to join. If I can get hold of a good cast of this Medusa, I shall bring it back with me…” — Goethe, Italian Journey
Download model files here: thingiverse.com/thing:196038
“No classical education is needed to appreciate the personification, nor is it hard to grasp the drama of the figure’s action given its superb position–and this is so despite the absence of arms and head; indeed perhaps its maimed condition has helped make the life it retains seem more miraculous.” — Francis Haskell, Taste and the Antique: The Lure of Classical Sculpture, 1500-1900
Download model files here: thingiverse.com/thing:196037
“Supreme western works of art, like Oedipus Rex and Hamlet, preserve their indeterminacy through all interpretation. They are morally ungraspable. Even the Venus de Milo gained everything by losing her arms.” — Camille Paglia, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson
More noodling around with ideas and images for possible presentation at LACMA. This is a comparison of people’s response to the original Venus de Milo in the Louvre to their response to my 3D captured, 3D printed copy at the 2013 Paris 3D Printshow. The show was in the Louvre expo space, so my print was just a couple hundred feet away from the original.
I’m thinking that the fact that so many people are viewing the original through screens and taking photos undercuts the argument that there’s some essential, ineffable, supernatural awe involved in seeing the original, when really what people want is interaction, touch, control, and possession, all of which they get by mediating their experience with cell phones and cameras (for now).
I’m working on ideas and images for a possible upcoming presentation to LACMA staff on 3D printing, 3D scanning, art, and museums. Here are photos of people at last week’s 3D Printshow in Paris responding to my 3D printed invention of Perikles’ helmet — a copy of an artifact that hasn’t been discovered and likely does not exist. Photos and touching allowed…
Because when’s the next time I’m going to be alone, after hours at the Louvre, with Vangelisesque muzak playing on the PA system, with my 3D captured, 3D printed bronze-cast bootleg of a Matisse? I found a buyer too…
(Why does YouTube suggest “Nightmare” as a tag for this video?)
Over the last year, I have been experimenting with combining 3D capture, 3D design, and 3D printing with traditional lost wax bronze casting techniques. I’d like to use these technologies to develop a reliable method for producing large-scale traditional, artisanal bronzes faster and less expensively than has ever been possible in bronze’s 5,000 year history.