Next Up: The Medusa Rondanini (2013/12/28)

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“[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

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Winged Victory Published (update 12/28/2013)

Download model files here: thingiverse.com/thing:196038

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“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

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Response to Original Venus de Milo vs. 3D Printed Copy

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).

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3D Scanning, 3D Printing, Bronze Casting, and the Art of the Living Dead

Broken PLA Mold grey bg by Cosmo WenmanOver 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.

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