I’m tinkering 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).
November 22, 2013
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…
Novermber 22, 2013
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…
From “3D Printed Lost PLA Bronze Casting and the Art of the Living Dead”
(Why does YouTube suggest “Nightmare” as a tag for this video?)
The Independent as a “glamorous gold chameleon,” British singer-songwriter Alison Goldfrapp projects strong, stylized imagery in all her performances, whether on screen or on stage.
My Cosmonaut figure in a variety of configurations from 3″ to 10″ tall, finished with bronze and rusted patinas.
Dresden from the Right Bank of the Elbe, above the Augustusbrucke.
Detail (second image) after Bellotto’s
7.5″ x 10″
Oil on masonite
Audio from Daniel Dennet’s Magic of Consciousness presentation.