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Without setting foot inside a museum, 3D printer owners can now recreate some of the most recognizable items from institutions around the world. In conjunction with Creative Commons and museums like the Smithsonian Institute, Sketchfab has launched a virtual collection of 3D models free and available to the public in an effort to promote open access to cultural heritage items.
The first wave of models will offer 1,700 3D scans from 27 organizations in 12 countries. The program is ongoing, so there are plans to add 3D models to the collection. With the help of Creative Commons, the models will be published with the license of CC0 Public Domain, available everywhere and anywhere for free.
The 3D models range from fossils to artifacts, samples from the natural and ancient worlds. You can reprint a model of the Apollo 11 capsule from the Smithsonian Institute, opera glasses from the virtual museum Morbase, a Greek amphora from the Cleveland Museum of Art, or the skull of a T-Rex from the Digital Atlas of Ancient Life.
The participating organizations have pooled together items from museums as varied as Minneapolis Institute of Art and Cleveland Museum of Art, international affiliates like the Museus de Sitges in Spain, Scottish Maritime Museum, Museo Nacional de Historia Natural de Chile, National Gallery of Denmark, and Musée Saint-Raymond in France, as well as digital-first organizations like Digital Atlas of Ancient Life at the Paleontological Research Institution and Digital Heritage Age.
As for creators who would like to reuse and remake these 3D scans in their own vision, the models are free to use without prior attribution or credit. The model files are imported with the help of software and made ready to use for most major 3D programs. If museums are interested in contributing to the growing collection, Sketchfab has invited interested organizations to contact them.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
Works by Rodolfo Abularach, Mario Bencomo, Denise Carvalho, Pérez Celis, Entes, and Agustín Fernandéz are on view at the NYC gallery through January 7, 2022.
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
“Ecosystem X,” an art-based reimagining of life on planet Earth, is the theme of this open call. 10 artists will win $5,000 and one student will receive $5,000 as a scholarship/stipend.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.