I’ve put together this Pinterest board collecting photos people have posted online of their 3D prints of the 3D scans I’ve published online. Over 100,000 downloads to date, and countless prints all over the world. I’d venture to guess that the 2,500-year-old Acropolis Kore 678, for example, has only ever taken physical form in Japan as a 3D print of my scan.
This Slate article by Ariel Bogle mentions my work in the context of Augustana College and the city of Sioux Falls, South Dakota committing copyfraud by purporting to have a copyright interest in a bronze cast of Michelangelo’s Moses: Good News: Replicas of 16th-Century Sculptures Are Not Off-Limits for 3-D Printers
What a work for a college and city government’s legal council to get wrong—not just Moses, but Moses holding the law.
“Although he is now a god, he is still the same lovable young man we’ve always known. I can attest to that. And to enable his relationships with all of us to continue exactly as they were, he has decided, for convenience, to retain his mortal form. Oh and by the way his sister Drusilla’s become a godess. Any questions?” —Macro, in the BBC’s I, Claudius
“© 1982 MMA”—Inscription by the Metropolitan Museum of Art
The lines are drawn, the orders are in,
The Dance Commander’s ready to sin.
Radio message from HQ;
Dance Commander, we love you.
—Electric Six, Dance Commander
I’m publishing this work as an example for my application for the Tate IK Prize 2015. My project—Tate Britain Unbound—would digitize and publish as many modern-era, public domain sculptures in Tate Britain’s collection as the project’s budget allows, along the lines of my Through A Scanner, Skulpturhalle project. This Eric Gill capture is a demonstration both of what’s feasible, and of my sincere interest in increasing access to Tate Britain’s collection.